April 24, 2026

Make Believe Ballroom - 4/24/26 Edition

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Show Notes
Transcript

On this week's edition of the Make Believe Ballroom, hosted by Jeff Bressler, a historic reunion between Duke and Satchmo, the history behind some song names, a little Texas Swing 40s-style, and more records and reminiscences from the big band and jazz era.

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It's make Believe ballroom time.

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Put all your cares away.

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All the bands are here to bring good cheer your way.

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It's make Believe ballroom time and free to everyone. It's

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no time to friend your Dalis said Bombas.

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Close your eyes and vis you lie in your solitude.

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Your favorite bands are on this dance and mister Miller,

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but you're 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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You make body.

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Come on jone, last days, last.

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

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the Make Belief Ballroom and welcoming you into my Crystal

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studio for another program of classic big band music from

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the nineteen thirties and forties. Please get ready as I

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

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

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broadcasting almost continuously since nineteen thirty five. And welcome one

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and all into the Crystal Studio. And thanks so much

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for joining me today. Let's get things underway right away

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with a little early cab callaway.

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City of.

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That of the tenth Sam said, rest anything.

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It's given to give him to bump up and you

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ve pump didn't see didn't did you do done? Lock

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nudged you did do do?

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Do you do?

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Sun?

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Sound Sunday Sun and so over?

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He didn't need if you pump money and.

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Son and so did wilted.

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Con sorrow over he did.

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He did need you ludge sus sus sus.

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He didn't winded.

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And on Victor Records, we just heard Cab Callaway and

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his Cotton Club Orchestra with the interesting title for that

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record of Father Got his Glasses recorded in New York

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City back in nineteen thirty three, with the vocal scatting

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by Cab himself. So you might be asking how died

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the song title Father Got his Glasses come to be well.

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I mentioned on this show many times the wonderful, unique

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and Harlem expression filled dictionary called cabs Hepster Dictionary written

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by Cab Callaway, which had two publishings with tens of

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thousands of copies distributed, who was the first dictionary ever

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credited to an African American. So the title of the

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record is a nod to one of the band's arrangers,

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that being trombonist Harry White, who co authored the chart.

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We just heard with Redman Eddie Barfield. Now Harry White

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needed his cheaters, he needed his reading glasses for writing arrangements.

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And according to CAB's Hepster's Dictionary, if you've got your

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glasses on quote unquote, you are ritzy or snooty. You

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fail to recognize your friends. You are upstage. So that's

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the fun explanation to an interesting title. Let's play another

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early Cab callaway when he led his Cotton Club Orchestra

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in the early nineteen thirties.

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You dirty dog, you better stop your sniff being round

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like that. I'm not just what you're dripping now, are

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you dog? Dirty?

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Dirty dirty?

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You stiff and snapping? You've been japping all you don't.

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Say.

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They got the news all over town. You and my

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wife been running round. Stop it for you down hi,

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you joke. Deacon Green's been talking to He said that

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he saw you. Here's my wife interphew. I you do myny.

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You don't, you dirty, dirty, dirty dirty dog. Stop your

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sniffing rap back back. Not just what you drop now,

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my you dop, you dirty, dirty, dirty dirty dog. You

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sniff and snapping, nipping yipping all you don't.

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You dumb you don't you.

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Sip in Stamn?

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From Victor Records. I You Dog, recorded in nineteen thirty two.

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I'm Jeff Bresler and this is the weekly edition of

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the Make Believe Ballroom. Let's spin another disc than a

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listener's request.

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When you think that's sense that sense that study, ah,

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then you spring down down, don't you see when you play,

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dont do that?

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Do that study? That's the way that is.

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Don't you see me?

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Did you sing as we?

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Then you riff?

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But I'm not down when you think that that's not study?

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Ah?

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Thank you s bringing.

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Loud tr Don't you see?

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That?

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Was trumpet player and bandleader Freddie Jenkins and his Harlem

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seven with Swinging Them Down, recorded on Victor Records in

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New York City back in nineteen thirty six. Freddie Jenkins

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was very talented. He played with Duke Ellington starting in

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nineteen twenty eight. He stayed with Duke until nineteen thirty five,

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when a chronic lung ailment certainly not beneficial to a

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trumpet player, sidelined him. By nineteen thirty six, he recovered

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enough to record a number of sides for Victor and

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eventually felt well enough to go back to Duke for

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another stint, starting in nineteen thirty seven, but unfortunately, by

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nineteen thirty eight the lung ailment returned and he retired

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and went on to work in songwriting. He became a

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popular disc jockey. He worked as a music journalist and

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became interestingly enough, a deputy sheriff in Fort Worth, Texas.

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Now the great British music journalist Stanley Dance, who was

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very close to Duke Ellington, related a story that Duke

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once told him about Freddy. So Duke recalled the time

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when he was leading the orchestra when Sarah vaugh As

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a matter of fact, two we featured a few weeks back,

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was his vocalist and they were playing in Dallas Fort Worth, Texas.

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So Duke told Stanley that there was a good crowd

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in the huge auditorium that night. The promoter, we were told,

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had a problem because of ticket counterfeiting. Deputy Sheriff Freddie

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Jenkins came in dressed Texas style with a big hat

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on his head and a gun on his hip. He

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looked a picture of health as he made an on

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stage speech and special presentation to his former employer whether

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the ticket counterfeiting part was a ruse of the truth.

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We don't know, but a great reunion between Duke Ellington

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and Deputy sheriff former trumpeter Freddie Jenkins. I'm Jeff Bresler,

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and you're listening to the one, the only, the original

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Make Believe Ballroom to reach me, I'm Jeff at Make

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

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Ballroom Radio dot com. And one of those folks who

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reached out to us is our friend Michael Fusco in

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New York City, ballroom historian extraordinaire, and he writes, Hi, Jeff,

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can you play Benny Goodman's La Rosita that was recorded

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in nineteen forty one? The music from this was used

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on a nineteen sixty one song You and Your Love

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by Italian American crooner Julius LaRosa. Thanks Jeff, and keep

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up the good work keeping alone live the greatest music

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of all time, and that is signed by Michael Fusco.

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Thanks Michael, and I will play the record in just

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a moment, But first I must acknowledge that the vocalist

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Julius la Rossa was, believe it or not, a past

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host of this very Make Believe Ballroom. We just heard

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from Columbia Records La Rosita, recorded in New York City

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on June the eleventh, nineteen forty one, with Benny Goodman

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and his orchestra. Why don't I now play for you?

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And Michael the B side of that nineteen forty one

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Columbia recording.

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They asked me how I knew my true love was true? I,

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of course replied, something here inside cannot be denied. They said,

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some day fine and all who love are blood. When

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your heart's on fire, you must real life smoke gets

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your arm. So whatcha and I get in last to think.

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Love you to day?

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My love is blown away and I'm will love my

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laughing friends right USA?

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Can the fly?

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So I smile and say when a lovely flamel smoke gets.

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Your the standard smoke gets in your eyes. Benny Goodman

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and his orchestra vocal by Helen Fast the Columbia B

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side to the song La Rosita. So thank you, Michael

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Fusco for your request again to reach me. I'm Jeff

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

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Make Believe Ballroom Radio dot com, and I have another

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listener's email coming up in just a little while.

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I'm no crude, I'm no being, I'm the drummer.

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Man.

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That's wing trumpet, sexophones.

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That is where I get.

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Whats inst ghost a cow bells, be stock about.

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Side.

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Don't plays a role as you can here, don't don't

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plays a break because you're very clear.

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All Romba, all a Gray Listen, Oh that's Gray.

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The recorded in London, England, on July the fifteenth, nineteen

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thirty six, for Parlophone Records. We just heard Joe Daniels

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and his hot shots. Drummer goes to town. Why don't

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we now let me see if I have this record?

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Hold on here I do. Why don't we now go

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from the drums of Joe Daniels to the drums of

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Buddy Rich.

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There's our own sentimental gentleman of swing.

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Tommy Dorsey is tombone and his band.

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Step Step Step sep second Stepping.

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Sud from the nineteen forty three film Du Barry was

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a Lady. Tommy Dorsey and his orchestra with Buddy Rich

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playing the drums, and the tune was well get it.

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So there's this old story about Buddy Rich. I don't

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know if it's true or not, but it's been told

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for over forty years. When Buddy passed away back in

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nineteen eighty nine, I think it was from a brain tumor. Allegedly,

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he kept his wit right up until the last moment, because,

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according to the Los Angeles Times obituary for Buddy, when

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a nurse asked if he was allergic to anything before surgery,

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he said yes, quote unquote country music. Well maybe he

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said that, maybe he didn't, but I'm sure in the

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nineteen thirties and forties Buddy must have heard country music

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like this, country music that had some swing.

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You within.

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My heart loves a melody, a.

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Song of all seantom wearing dreams. I live with the

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memory beneath the stars all along.

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It was there I've found beside the Alamo, en chant

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and strange as.

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The glow up above a moon lit path. And only

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she would know still he is my broken song of love,

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mooning all your slender.

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Only my heart, all back my road.

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Rows of sand, tom lips of sweet and tender, like

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petals falling apart, speak once again.

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Of my long.

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Road, open song, empty words I know still live in

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my heart, all along.

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For that moon litpath by the Lamo Hen Rolls, My

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Rows of Sand and Tom.

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We just heard on Okay Records Bob Wells and his

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Texas Playboys with the New San Antonio Rose, recorded on

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April nineteenth, nineteen forty and featuring the fiddle of Bob

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Wells and the vocal by his longtime singer Tommy Duncan

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and the friends. If you ever have the time, try

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to listen to some Bob Wills Western swing favorites. I

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guarantee you you won't be disappointed. Waylon Jennings, As a

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matter of fact, the great country singer. Many of you

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who enjoy country music might know his recording a hit

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song titled Bob Wills is Still the King. I think

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he recorded that back probably sometime in the mid nineteen seventies.

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Another listener's email coming up after this recording.

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Hey, listen to my story. Her disposition is rather sweet

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and charming, at times alarmy, so they say that down

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not outa da dada.

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She had a mad restolear handsome, large jetstrong to whom

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she used to sing this song.

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Hey, Daddy, I want to die but ring race. Let's

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have everything, Daddy, you want to get the best for me?

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Uh, hey, daddy, Gee, won't Alexwell get sables close with

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parabless labels?

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Daddy, you want to get the best for me?

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It's an amazing repolation with a bit of stimulation.

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I'd be a great sensation. I'd be your insportation, Daddy.

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I want to brand new card Champagne ca me. Daddy,

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you want to.

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Get the best for me?

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Hey, Daddy, I want to dive and ring grace Let's

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Sam Brings.

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Daddy, you want to get the best for me?

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Yeah?

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Yeah, Hey daddy, Gee what alex Well in sables close

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with farms labels?

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Daddy, you wanna get the best for me?

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Da?

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Da Da.

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It's an amazing revolation with a bit of stimulation.

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I'd be a great sensation. I'd be your insvotation, Daddy.

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I'm on a Brandy Champaign heavy young Daddy.

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Daddy, you wanna get the best for me.

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One of the year's top discs Back in nineteen forty one,

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this song spent eight weeks parked at number one on

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the Billboard Sales chart. Daddy by Swinging Sway with Sammy Kay,

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recorded on Decca Records in New York City, You Know Friends.

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Each week after the radio version of the Ballroom is

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distributed and clears all of the public, university and community

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radio stations who are our beloved affiliates of this program.

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We put the Ballroom in podcast form. You can hear

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over two hundred and fifty past shows in the series,

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with more at it all the time by going to

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Make Believe Ballroom dot Com. Let's MakeBelieve Ballroom dot Com,

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or you could just go to your favorite podcast provider.

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We are on all of them. And I received let

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me pull us up on monitor two. I received an

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MP three attached to an email this past week, and

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it was a revelation to me because it contained the

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fact that I never knew. It came from Rich Carlisle,

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who listens in Austin, Texas, and he wrote, Jeff, I

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continue to enjoy the Ballroom each week and contribute to

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you when I can some music with history behind it.

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And I thank you Rich, you have indeed done that

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in the past. He goes on to write. Duke Ellington

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and Louis Armstrong were two iconic legends of jazz. Yet

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despite their enormous influence and the fact that their careers

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overlapped for decades, the two legends rarely recorded together. That's

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part of what makes this MP three, I attached from

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the Ed Sullivan Show in nineteen sixty one so fascinating

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to listen to today. They hadn't corroborated for thirty years

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until this CBS performance. I sent you the MP three

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with the hope you can share it with the large

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Make Believe Ballroom audience. I'll continue to share with the listener.

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And that signed Rich Carlisle from Austin, Texas. So thanks

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for sharing, Rich, and now I will share with the

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audience this.

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Louis Armstrong and Duke Ellington tonight, for the first time

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in thirty years, work together in a number from their

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ruled album Duke's Place. So let's have a tremendous hand.

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For SUNNMO.

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Baby.

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Take me down to Duke's Place. Wilace Spot in town

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is Duke's Place. That piano sound and Duke's Place sexes

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dude its Dukes Place, plas swing that chicks in due Place. Man,

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get their licks.

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And chicks and Dupe Place.

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And take it down.

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If you never been in Dutch Place, take you chisies

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down to du Place like this in the spin Duke's.

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Duke Ellington Louis Armstrong Duke's Place from the December seventeenth,

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nineteen sixty one broadcast of The Ed Sullivan Show and

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Ed Sullivan In the opening to Duke and Louis, the

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introduction mentioned a Roulette Record label album. In nineteen sixty one,

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Duke and Louie recorded the celebrated album The Great Summit,

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which featured Louie Is the guest soloist with Ellington's orchestra

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performing the Duke's compositions. Let me play one from that

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celebrated album.

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Drop me off in Harlem. Yeah, good old Harlem. You

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have your fun under the Harlem sun. Drop me off

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in Harlem. There's Duke Callington up in Harlem. He writes

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all his tunes in Harlem. And old Sachemo is still

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swinging way up in Harlem. All the cats are still

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up there. They're beating out those rips and the bottlebr

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a Waco give you a bad big live Yes, shut

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me off in Aleum yay man, beautiful Hallum. You get

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red beets and nice very nice dam dam and alum.

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That is.

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I'm gonna turn to have.

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A pro.

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Husband.

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Dropped me off and Harlem. Duke and Satchmo, originally written

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recorded by Duke Ellington and his famous orchestra back in

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nineteen thirty three. And you know, as I'm speaking to you,

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and while our record was playing, I was looking on

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monitor number two here in the Crystal studio for a

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story of how dropped Me Off in Harlem got its name,

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and I just found it and I'm copying and pasting it.

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I didn't put too much pressure on myself there to

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come up with a story. So it reads A. H. Lawrence,

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who wrote a biography on Duke Ellington entitled Duke Ellington

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and His World, wrote that the song originated from an

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off the cuff remark from Ellington. Nick Kenny, his songwriter,

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had held a cab and offered to share it with Duke.

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Kenny asked where to Duke, and Ellington replied, dropped me

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off at Harlem. Kenny then fashioned lyrics from Ellington's remark

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and presented him with them a few days later at

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the Cotton Club, and the rest is history. So an

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interesting story about the title dropped Me Off in Harlem,

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And that leads me back to a record I held

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over from last week that also has a very interesting title.

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Eleven sixty and eleven sixty and looklock with dry again.

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One in three four five pick eleven eight nineteen eleven

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sixty p m. The moon was high and the sky

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you had that look in your I tried to kiss you.

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One to three four five sick eleven.

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Eight nineteen eleven, twelve hundred time.

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We had fancy evening walking around.

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It was grand to wind.

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Up closer together than twelve.

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I gotta see you again and hold your post, and

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o'clock is dry again.

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One three four five.

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Sick seven eighth nineteen eleven sixty pm, eleven sixty M,

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eleven sixty p m.

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Good night.

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Unplumb the records we just enjoyed eleven sixty PM by

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Harry James and his orchestra, vocal by Kitty Calein and

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recorded in Los Angeles, California, back in nineteen forty five.

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So how did the song eleven sixty PM get its name? Well,

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eleven sixty pm is a non standard time representing midnight

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or twelve am. Essentially means sixty minutes. It's after eleven PM. Interesting.

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I think we have time to play one more record

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before we close up the Crystal studio.

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Finish the s B Man parl.

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To BUDM, recorded in New York City on June the

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twenty sixth, nineteen thirty nine. We just heard Red Nichols

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and his orchestra with parade of the pennies and folks.

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We are out of time. The big hand on the

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big bull of a clock here in the crystal studio

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is approaching the top of the hour. Thanks so much

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much for joining me today to reach me, I'm Jeff

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

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Ballroom Radio dot com. Just want to take this opportunity

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to thank our syndicators and distributors for offering the Make

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Believe Ballroom cost free to commercial, free, public, community and

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university radio stations. They are the Public Radio Exchange PRX,

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the PACIFICA Network, and Global Community Radio. The program's flagship

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affiliate is Jazz ninety point one WGMC in Rochester, New York.

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The Ballroom is also heard on your favorite podcast provider,

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00:56:44.280 --> 00:56:48.519
So Friends until next week. This has been Jeff Bresler

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Asportation Lush

Make Believe Ballroom - 4/24/26 Edition

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