Make Believe Ballroom - 4/22/24 Edition

WEBVTT

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It's make Believe ballroom time. Put
all your cares away. All the bands

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are here to bring good cheer your
way. It's make believe ballroom time and

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free to every while. It's no
time to friend your Dalis said Bob yours.

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Close your eyes and visualize in your
solitude. Your favorite bands are on

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this dance and mister Miller, but
you in the wood. Its make Believe

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ballroom time. We are a sweet
romance as you make it, Bob,

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Come on jot the last dance last
es. Hi, folks, I'm Jeff

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Bresler, turning on the lights of
the Make Belie Ballroom and welcoming you into

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my crystal studio for another hour of
the greatest swing, jazz and big band

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hits of the nineteen thirties and nineteen
forties. I'm hosting the show to keep

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the music in traditions of past hosts
Martin block Al, Jarvis William B.

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Williams, and the legendary Steve Allen
alive. Whether you're one of my longtime

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listeners or perhaps a new listener to
the program, I invite you to grab

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your dance ticket. It's free and
let's reminisce Hi folks and Welcome, Welcome,

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welcome, back to you another edition
of the Make Belie Ballroom, broadcast

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in one form or another almost continuously
since Martin Block first took to the airwaves

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at WWEEW Radio in New York City
back in nineteen thirty five. I have

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some great music planned for you today, as well as some random selections from

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the Ralphie's Record Club list. And
speaking of planned, I planned on opening

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the show with this. Here's one. The jitibugs are really gonna like a

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little tune titled Swinging and Jump in
this protecting looks the Red Everything Study,

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the Dignity anything that was Swinging and
Jumping recorded live in the Manhattan Center.

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Bunny Berrigan and his orchestra recorded for
radio back in nineteen hundred and thirty nine.

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You know, before I go on
to a Ralfie's Record Club selection,

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let's improvise, because you know,
quite frankly, I feel like keeping it

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swinging. So how about a little
swing with a Brazilian beat. One of

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my favorites of all time, Carrie
Oka, Artie Shaw and Buddy Rich also

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recorded live on the radio back in
nineteen thirty nine. As in the Fables

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of the People in the Si.
That was Carrie Oka, written back in

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nineteen thirty three and made popular in
the Fred Astaire and Ginger Rogers, a

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dancing musical flying Down to Rio.
And the swing version we just heard,

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of course, was by Artie Shaw
and his orchestra with Buddy Rich on the

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drums. And I am playing great
hits of the Big Band era here on

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the Make Believe Ballroom. As always, I could be reached at Jeff at

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MakeBelieve Ballroom Radio dot com Jeff at
MakeBelieve Ballroom Radio dot com, and I

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am going to read an email that
I received this past week in just a

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little while. But first, a
favorite segment on the Ballroom. Back in

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nineteen five, by coincidence, the
same year the Make Believe Ballroom started on

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w NEW in New York, a
gentleman named Ralph Carbone along with his wife

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Rose, they decided to invite neighbors
into their Canarsie, Brooklyn home every other

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week to eat what I would think
suspect would have been Italian themed pot luck

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suppers, where every couple brought an
individual dish, and more importantly, they

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listened on the record player and I
guess sometimes on the radio to the top

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hits of the era and also danced
to those tunes. And Ralphie and Rose's

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home well a club met faithfully over
the years in Canarsi until the mid nineteen

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seventies, and over that time period, the club painstakingly rated over seven hundred

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hits of the Big Band era,
rearranging those ratings many times over the decades.

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Now, Ralphie's son Angelo, who
turned ninety recently and lives in Naples,

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Florida. He remains a loyal listener
of this broadcast, and several years

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ago he shared that list Ralphie's Record
Club list with my old radio producer Lenny

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from down the block and myself.
So here from the Crystal studio. I

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have those over seven hundred songs loaded
into my playlist, and what we do

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each week is we spin the virtual
wheel of a randomized number program I have

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loaded onto the computer, and I
hit the button are and whatever number comes

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up, I play the corresponding tune. Now, I really love this segment

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because not even and I know what
number will be coming up. So let

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me activate the randomizer for today's first
selection from the Ralphies Record Club list,

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and the virtual wheel stops at number
number eighty five, and this is one

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of my personal favorites, Johnny Mercer's
vocal, along with the pied Pipers on

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the Atchison Topeka and the Santa Fe. Do you hear that whistle down line?

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I figured that it's a number four, and she's the only one little

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sound that way on the edge center
Peak and Santa Fe. See the old

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smoke rising round the bend. I
reckon that she knows she's going to meet

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a friend. Folks around these parts
get the time of day from the Attison

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to Peak and the Santa Fe.
Here's she come head, Jim, you

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better get the rig. She's got
a list of passengers that's pretty big,

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and they'll all want lifts to Brown's
Hotel because lots of them been traveling for

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quiet a spell all the way from
Philipdelphi on the Atchison to Peak and Santa

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Fe. Chubby Chubby, chuggy chugger, Ladder rip, ladder rip, mister

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engineer, gotta gold gotta go far
away from here, while the man at

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the fire shovels on the gold stick
your head out the cab watching drive and

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roll, see the towns and the
roads go whiz by that badly well,

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laram Albuquerque High yesterday. Here we
are going all away? What sequit tell

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me? In California on the accident
to be Got and Santa Fe on the

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acccent to be Gotten? Sign up
bag Here you come here, Jimmy battle

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Kid, do read. She's got
a list of passengers that's pretty big and

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hell all on lifts to Brown's Hotel
loocause lots of them and traveling for quite

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a spell down on the beak and
sad up on the Anchison Topeka and Santa

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Fe written by Johnny Mercer and Harry
Warren featuring Johnny Mercer and the Pied Pipers

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Orchestra conducted by Paul Weston. And
that song, Atchinson, Topeka and Santa

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Fe was from the movie The Harvey
Girls that starred Judy Garland. And Judy

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also made a successful UH top hit
of Atchison, Tope and the Santa Fe.

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It was recorded on Columbia back in
nineteen forty five, and the immerca

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version during nineteen forty five hit the
top of the record charts. And now

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let's go from nineteen forty five to
a song with origins that take us back

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over one hundred and ten years before
that. You might recognize this tune called

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Carnival of Venice. It was a
popular big band arranged song played live in

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ballrooms and theaters, as well as
successfully recorded by both Harry James and Larry

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Clinton. Let's take a listener conture
picture stre Jack Leader road couple rec rhythm

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that was Carnival of Venice, recorded
in nineteen forty on Bluebird Records by Larry

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Clinton and his orchestra. Now the
origins. It's interesting of Carnival of Venice

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goes way back. As I mentioned
before, the song was based on a

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Neapolitan folk tune called Oh Mama,
Mama Cara. It was popularized by violinist

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and composer Nicolo Paganini, who actually
he actually wrote twenty variations of his original

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tune. He titled it Carnivale di
Venezia. In eighteen twenty nine, the

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Great Paganini wrote to a friend,
a quote unquote, the variations I've composed

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on the graceful Neapolitan diddy Oh Mama
Mama Cara outshines everything. I just can't

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describe it. So obviously, the
Great Paganini was a fan of his own

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music. But I oppose a question
to you would Paganini himself have rolled over

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in his grave, or, on
the other hand, fallen into heavenly ecstasy

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if he heard that Larry Clinton version
played over one hundred years later. I

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leave that for you to decide.
So one of the greatest violent virtuosos in

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the history the history of all music, who lived from seventeen eighty two to

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eighteen forty, actually was not spared
any eternal piece during the Swing era because,

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in addition to a Carnival of Venice. On October the twenty ninth,

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nineteen thirty six, for Decca Records, Chick Webb and his orchestra, along

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with Ella Fitzgerald, released a record
of a song that first appeared in a

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Bing Crosby movie. It was a
Western comedy called a Rhythm on the Range.

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Here is Chick web and Ella Fitzgerald
with you have to swing it,

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mister Paganini. Mister Paganini, please
say my repsod and if you cannot play

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it, won't you sing it?
And if you can't sing it, you

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simply have to swing it. I
said, swing it, oh, thing

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it and doging it. Oh,
mister Paganini, reprectlessly. You wait,

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your masterful baton gone and sling it. And if you can't sling it,

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you simply have to drem I said
sing it and scaredy wah wah, and

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why is scared? Reverger repertoire ran
at the final bar. We breathed you

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with water, the flow for water, great ovation your interpretation back to Leonardo

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diet Oh, mister pagan Now don't
you be your meaning? What have you

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of your sleep? And spring it? And if you can't spring it you

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safe are to swing. We wrote
your repertoire ran at the bottle box.

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We've readed you with wind the floor. But what a great of vision your

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interpretation, God light of ladle blad
to blame mister peg and Ninny. Now

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don't you be your meaning? What
have you of your sleeve gone? And

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spring it? And if you can't
spring it, you save me half to

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tween mister Paganini with Ella Fitzgerald scatting
away with the Chick Web Orchestra, Recorded

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on Decca Records, October the twenty
sixth, nineteen thirty six. I'm Jeff

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Bresler, and I am broadcasting from
the Crystal Studio in New York, and

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you're listening to this week's swinging broadcast
of the Make Believe Ballroom. You can

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email me at Jeff at Makebelie Ballroom
Radio dot com. That's Jeff a makeble

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Believe Ballroom Radio dot com. And
in the last week via email, I

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heard from, among others, some
of our longstanding radio listeners Larry Petree,

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Sam and Nora link the links from
Austin, Texas. Dean Schubert our friend

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from Rochester, New York, Kathy
DeMarco from Rybrook in New York's Westchester County,

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and Steve Glass from Albuquerque, New
Mexico. All longtime radio listeners of

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the Ballroom. And thank you for
your kind words. And if you think

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the Ballroom listener base is just a
group of old fogies, well I ask

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you to think again, because I
received an email this week that I want

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to read to you, and it
says, Hello, Jeff. I'm a

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recent convert to the Make Believe Ballroom
program and a high school aged listener and

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admirer of the big bands of the
thirties and forties. I've been listening to

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the backlog of podcast episodes when,
to my delight, a new season began

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to be released. I have very
much enjoyed hearing selections from Ralphie's list,

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though I agree that many tunes have
been unfairly relegated, such as poor Shipyard

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Ramble, and I certainly agree with
that that was way too far down the

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list. But back to the email, it's been fun to hear songs I'm

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familiar with, as well as some
lesser known gems from lower on the list.

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Thank you for helping expand my musical
education and for keeping the legacy of

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swing and the Make Believe Ballroom alive. Sincerely, Tyson Airs from Lovettsville,

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Virginia. Well, Tyson, I
thank you so much for being a listener.

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You don't know how happy that makes
me that a high school student like

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you loves swinging jazz from the thirties
and forties and has found his way to

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the Make Believe Ballroom. So welcome
to our family of listeners. I too,

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began my love affair with big band
music, Tyson, when my high

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school band teacher, mister Stein would
have us play many arrangements from the era

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and also bring in a lot of
original records that he would play on a

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Victrola in our classroom. As a
matter of fact, Phil Shapp, the

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late jazz scholar, music critic,
producer, and radio personality public radio personality

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in the New York City area.
Was also a member of that high school

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band along with me. Phil was
a great Count Basie fan. So in

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memory of my late friend Phil Shapp, here is Basie the thread I do

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anything to talk to Don't talk to
me, don't don't relyed on Decca.

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That was the Eddie Durham composed Topsy
by Count Basey and his orchestra, recorded

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in New York City August ninth,
nineteen thirty seven. And while I was

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playing that record, I had the
recollection that Phil Shapp's father, Wally Shapp,

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was also one of my little league
coaches, come to think of it,

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and I don't remember was I on
the Jays Diner team at that time?

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I don't recall, but Wally certainly
did manage me in little league.

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And come to think of it,
it's now time for another Ralphie from Canarsi

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record club selection. So I activate
the randomizer spin and the number that comes

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up is one forty eight, one
forty eight The Little John Special Lucky Millinder

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and his Orchestra, recorded in nineteen
forty two. D A copy a paper

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by that Lucky Millinder and his orchestra
with number one forty eight on the Ralphie's

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Record Club List. Little John Special
Lucky was an interesting guy. He was

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essentially a frontman, an occasional singer
who conducted several impressive big bands. I

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think if my recollection is right,
Lucky it was one of those band leaders

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and don't even know how to read
music. He freelanced around until about I

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guess the mid thirties, when he
took over leadership of the Mills Blue Rhythm

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Band, staying there for several years, four years actually, I think it

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was until nineteen thirty eight. In
nineteen forty he formed his own orchestra,

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which worked at the Savoy Ballroom in
New York City. This recording we just

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heard was the band that did indeed
play at the Savoy and right now here

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on the Make Believe Ballroom. It's
once again time to listen to a great

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remastered tune from our friends at Past, Perfect Men from the Past, perfect

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00:42:40.599 --> 00:42:45.119
album, Great dance Bands play hits
of the nineteen thirties. That was the

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wonderful British band leader low Stone with
the Bouncing Ball friends. You know a

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00:42:53.039 --> 00:42:59.039
few years back the nice folks that
Past Perfect allowed us here in the Crystal

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00:42:59.199 --> 00:43:05.360
Studio to use many of their digitally
remastered songs to play on the Make Believe

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00:43:05.400 --> 00:43:10.159
Ballroom. And whether you remember these
great tunes that I played from your youth

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or parents perhaps playing and enjoying this
music, or like young Tyson Ayres whose

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email I just read, are discovering
this music for the first time, you

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00:43:24.280 --> 00:43:31.039
won't find a better sound or product
on the market. Past Perfect's unique albums

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00:43:31.159 --> 00:43:37.400
make a great vintage present or treasured
edition to your own vintage music library.

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00:43:37.519 --> 00:43:45.840
Go to past Perfect and view their
collection of nineteen Crystal Clear perfectly remastered albums

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00:43:45.360 --> 00:43:52.320
past Perfect dot com. That's past
perfect dot com. And the process orders

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00:43:52.480 --> 00:43:58.400
literally from all over the globe,
and the Make Believe Ballroom is also heard

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00:43:58.559 --> 00:44:02.320
all over the globe week from the
Crystal Studio in New York, and I'd

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love to hear your requests. You
can send a request to me at Jeff

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00:44:07.119 --> 00:44:14.320
at MakeBelieve Ballroomradio dot com. That's
Jeff at Make Believe Ballroomradio dot com.

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Folks, you know, when it
came to dance bands of the big band

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era, and I mean bands that
serious dancers really loved and followed. A

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few bands in the thirties or forties, in my estimation, ever came close

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to out doing Tommy Dorsey in that
department. Tommy was a true crowdpleaser across

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the country for dancers, and that
is why they came out to jam the

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dance floor when Dorsey came to ballrooms
in their own town. Here's an example

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of a slow Dorsey dance number,
after You're Gone the fas sable he did,

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so conder, so continue after You're
Gone Tommy Dorsey and his Orchestra on

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Victor Records, recorded October the eighteenthnineteen
thirty six. And you know, if

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you look at some of the old
trade papers from the thirties and forties and

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look at some of the ballrooms and
how much money they took in, it

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only reinforces the fact that Tommy Dorsey
did generate tremendous revenue in these ballrooms and

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just pack them because of his dance
music and giving Dorsey fans the opportunity to

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dance to his tunes. So let's
now make it a trifecta of Ralphie's record

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club list selections on today's edition of
The Make Believe ballroom randomizer activated virtual wheel

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spinning and it lands on number number
one ninety Wow, how can you go

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wrong when you have Bing Crosbie and
the Boswell Sisters on the same recording.

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I was talking to the whipper Will
He says, you've got a corny drill.

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Who I'm gonna swing too? Night? I was talking to the mocking

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Bird. He says you are the
worst he's heard, Bob. What I'm

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gonna swing too? Night? Even
the owl tells me your follow singing those

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lollabo Well, he's a bring down. He never could swing down. He

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ain't got my high nose. There's
a lot of talk about you, Bob

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this. Then you're off the car. Why that's heresy. I'll sue begg

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it missed up? Be take him
follow me, Bob. What we're gonna

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break it up to? Night?
Now here's a wire from the whipple.

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Will you have got a mellow drill? Yes, Bob, what we're in?

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Now here's another from the mount Chamber. What does he have to say

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that you're the best he's heard?
Episode? Bob? What we really saw

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Evani owl through in a towel after
you thinks to cut too and the Flamingo

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hollered Ba jingle. The opinion that
you're a solid with yes is saying,

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mister b I'm gonna swing on merrily. Who why we really broke it up

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your night Bob on Decker Records.
That was Bob White, also known as

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what You're Gonna Swing Tonight? Written
by Johnny Mercer, who we heard a

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little earlier in the program doing the
vocal on Atchinson Topeka and the Santa Fe

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on this record Bing Crosby with Connie
Boswell Orchestra conducted by John Scott Trotter,

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recorded in Los Angeles, September twenty
fifth, nineteen thirty seven, and looking

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at the Bulova clock on the wall, I think with that, perhaps it's

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once again time to turn out the
lights of the Make Believe Ballroom here in

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the Crystal Studio in New York.
I really enjoyed bringing you today's selection of

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great jazz and swing hits from the
thirties and forties. As I've mentioned throughout

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the program, you can email me
at Jeff at MakeBelieve Ballroomradio dot com.

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That's Jeff at MakeBelieve Ballroom Radio dot
com. So until next week, folks,

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this has been Jeff Bresler. Just
keep on dancing, though you've only

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a small room. Make your ballroom
less fas