Make Believe Ballroom - 4/29/24 Edition

WEBVTT

1
00:00:13.000 --> 00:00:21.440
It's make Believe ballroom time. Put
all your cares away. All the bands

2
00:00:21.440 --> 00:00:29.920
are here to bring good cheer your
way. It's make Belief ballong time and

3
00:00:30.239 --> 00:00:41.039
free to everyone. It's no time
to friend your Dalis said Bob Yours.

4
00:00:41.159 --> 00:00:49.719
Close your eyes and visualize in your
solitude. Your favorite bands are on this

5
00:00:50.000 --> 00:00:54.920
dance and mister Miller, but you're
in the mood. Its make Believe Ballroom

6
00:00:55.039 --> 00:01:02.200
time. We are a sweet romance. As you make the leave bottom,

7
00:01:02.560 --> 00:01:07.239
Come on, Joe, the last
dance lasts. Hi, folks, I'm

8
00:01:07.319 --> 00:01:11.640
Jeff Presler, turning on the lights
of the Make Believe Ballroom and welcoming you

9
00:01:11.760 --> 00:01:18.120
into my crystal studio for another hour
of the greatest swing, jazz and big

10
00:01:18.159 --> 00:01:23.159
band hits of the nineteen thirties and
nineteen forties. I'm hosting the show to

11
00:01:23.280 --> 00:01:29.040
keep the music in tradition of past
hosts Martin block Al, Jarvis William B.

12
00:01:29.159 --> 00:01:33.680
Williams, and the legendaries Steve Allen
alive. Whether you're one of my

13
00:01:33.760 --> 00:01:38.719
longtime listeners or perhaps a new listener
to the program, I invite you to

14
00:01:38.799 --> 00:01:48.280
grab your dance ticket. It's absolutely
free and let's reminisce. Hi folks,

15
00:01:48.280 --> 00:01:52.799
and welcome. Welcome, we'll welcome
once again to another edition of the Make

16
00:01:52.799 --> 00:01:59.560
the lea Ballroom broadcast in one form
or another almost continuously since Martin Block first

17
00:01:59.599 --> 00:02:04.840
took the airwaves at WEW Radio,
New York City back in nineteen hundred and

18
00:02:04.840 --> 00:02:12.599
thirty five. Let's get the orchestra
and vocalists up on the ballroom bandstand for

19
00:02:12.680 --> 00:03:38.639
this Divided. When you hear a
crazy beat, get up and get on

20
00:03:38.680 --> 00:03:44.840
your feet, swinging sister, give
it everything you've got, when you've got

21
00:03:44.919 --> 00:03:51.599
attuned to write and just oh everything
aside, Swinging sister, make it sweet

22
00:03:51.680 --> 00:03:58.000
and make it harden. Just let
that rhythm get into your soul. If

23
00:03:58.080 --> 00:04:03.000
you've got rhythm, get happy and
lose control while you fielding mighty high.

24
00:04:03.479 --> 00:04:10.400
Just let out in hide high.
Swing is sister, give it everything you've

25
00:04:10.439 --> 00:04:48.399
got. It would wow wow wow
wow. That was the Mills Brothers with

26
00:04:48.600 --> 00:04:55.560
Swing Its Sister, recorded on Brunswick
Records in Los Angeles on February the twenty

27
00:04:55.560 --> 00:05:00.360
fourth, nineteen thirty four. Now
before the song, at the opening of

28
00:05:00.399 --> 00:05:06.160
the show, I told you it
was time to get the orchestra and vocalists

29
00:05:06.360 --> 00:05:12.920
up on the ballroom bandstand. Well
in the case of the Mills Brothers,

30
00:05:12.959 --> 00:05:20.639
that was only partially true because there
was absolutely no orchestra. But you may

31
00:05:20.720 --> 00:05:25.759
be saying, Jeff, what are
you talking about. I heard an orchestra

32
00:05:25.920 --> 00:05:30.120
accompanying the Mills Brothers on the record. Well, you may have heard an

33
00:05:30.240 --> 00:05:36.079
orchestra, indeed, but one need
to look no further than on the record

34
00:05:36.279 --> 00:05:45.040
label itself to read quote unquote four
boys and a guitar. No musical instruments

35
00:05:45.120 --> 00:05:53.279
or mechanical devices used on this recording
other than one guitar. So the Mills

36
00:05:53.360 --> 00:06:00.639
Brothers, like on so many of
their records and early movie appearances, vocally

37
00:06:00.519 --> 00:06:09.360
vocally created the sounds of those instruments. In that light, the Mills Brothers

38
00:06:10.000 --> 00:06:16.160
actually started their careers as somewhat of
a novelty group back in their home state

39
00:06:16.199 --> 00:06:25.560
of Ohio. They started singing and
impersonating instruments to accompany them. So all

40
00:06:25.600 --> 00:06:30.600
the instrument sections of swing its sister, the trumpets, trombone, and clarinet

41
00:06:31.160 --> 00:06:40.079
were all the result of the Mills
Brothers' vocal imitations. In the nineteen forties,

42
00:06:41.279 --> 00:06:48.279
the brothers began to drop the instrumental
imitations and they became a more conventional

43
00:06:48.839 --> 00:06:57.360
vocal group backed by a regular rhythm
section or a complete orchestra. Here is

44
00:06:57.399 --> 00:07:01.959
one with only guitar A company meant, and what a record it was.

45
00:07:02.879 --> 00:07:10.319
In nineteen forty three, this recording
was not only twelve weeks atop the best

46
00:07:10.319 --> 00:07:15.319
seller chart, but a record setting
thirty weeks in the top ten, and

47
00:07:15.480 --> 00:07:23.800
that was something no other forties decade
hit managed to accomplish. Here it is

48
00:07:23.800 --> 00:07:35.759
a beloved tune paper doll. I'm
gonna buy paper doll that I can call

49
00:07:36.680 --> 00:07:46.160
my a dole that other fellows scare
out, steal, and then the flirty

50
00:07:46.839 --> 00:07:56.279
flirty guys with a flirty flirty eyes. We'll have to flirt with dollies that

51
00:07:56.480 --> 00:08:03.800
are real. When I come home
at night, she will be waiting.

52
00:08:05.399 --> 00:08:13.639
She'll be the truest doll in all
this world. I'd rather have a paper

53
00:08:13.759 --> 00:08:26.879
doll to call more than have a
fickle my reel like girl. I guess

54
00:08:26.000 --> 00:08:33.879
I had a million dollars or more. I guess I've played the dog game

55
00:08:35.000 --> 00:08:43.519
four randall. I just called road
with Sue. That's why I'm blue.

56
00:08:43.399 --> 00:08:50.080
She's gone away and left me,
just like all dolls do. I'll tell

57
00:08:50.240 --> 00:08:58.000
you boys, it's tough to be
alone, and it's up to love a

58
00:08:58.240 --> 00:09:07.559
doll that's not your. I'm through
with all of them. I'll never fall

59
00:09:07.720 --> 00:09:16.960
against sab What you gonna do?
I'm gonna buy a baber Don that I

60
00:09:16.159 --> 00:09:26.480
can call my adon that other fellows
cannot steal. And then the flirty flirty

61
00:09:26.679 --> 00:09:35.039
guys, with the flirty flirty guys, we'll have to flirt with dollars lerry.

62
00:09:37.480 --> 00:09:45.799
When a moment night she will be
wearing. She'll be the treopist in

63
00:09:45.919 --> 00:09:54.000
all this world. I rather he
a Babor doll to call min then have

64
00:09:54.080 --> 00:10:03.519
a big, cold minded re love
paper doll. The Mills Brothers back to

65
00:10:03.600 --> 00:10:09.240
back records from the Mills a wonderful
way to get this week's edition of The

66
00:10:09.279 --> 00:10:15.679
Make Believe Ballroom underway. Here in
the famed Crystal Studio in New York.

67
00:10:16.480 --> 00:10:20.960
And now let's see here. Why
didn't I do this? One of my

68
00:10:22.080 --> 00:10:28.159
favorite musicians of the Big band era, who played both the trombone as well

69
00:10:28.200 --> 00:10:33.360
as being a fine vocalist. I'm
talking about Jack T. Garden. So

70
00:10:33.519 --> 00:10:39.000
here from Brunswick Records, Long About
Midnight, Frank Trumbauer and his orchestra vocal

71
00:10:39.200 --> 00:10:45.360
by Jack T. Garden, recorded
in New York City, February the twenty

72
00:10:45.480 --> 00:12:20.279
third, nineteen thirty four, Sacks
both. If you don't know just what

73
00:12:20.399 --> 00:12:26.320
to really do, just take a
walk along there you'll hear the sound of

74
00:12:26.399 --> 00:12:33.200
common floating room. Long about midnight, they close the windows and the dim

75
00:12:33.600 --> 00:12:39.559
light you had. They're doing from
the stranger's side, and everything is going

76
00:12:39.799 --> 00:12:48.120
right. Long about midnight, piano
tacles, couples way taking their pleasures.

77
00:12:48.120 --> 00:12:52.639
They find they don't care how they
live. Boy, they why not leave

78
00:12:52.759 --> 00:13:00.320
trouble behind. They're not pretending like
the hypel Lords. They really mean it.

79
00:13:05.440 --> 00:13:39.320
Long about night, Long about midnight, Frank Trumbauer and his orchestra along

80
00:13:39.440 --> 00:13:46.000
with the vocal by Jack T.
Garden and Now Folks. One of the

81
00:13:46.440 --> 00:13:50.960
special weekly features on the Make Believe
Ballroom, and that is a random selection

82
00:13:52.840 --> 00:13:58.360
from the Ralphie from Canarsi record club
list. If you're listening to the program

83
00:13:58.399 --> 00:14:05.480
for the first time, a little
background into the Ralphie's record club list,

84
00:14:05.759 --> 00:14:11.279
and for those longtime listeners bear with
me as I explain this to the new

85
00:14:11.360 --> 00:14:18.080
Folks. Back in nineteen thirty five, a gentleman named Ralph Carbone, along

86
00:14:18.120 --> 00:14:24.799
with his wife Rose, they started
to invite neighbors into their Canarsi, Brooklyn

87
00:14:24.879 --> 00:14:31.480
home every other week to eat potluck
suppers, sip perhaps a little veno,

88
00:14:31.840 --> 00:14:35.320
and listen to the top hits of
the era. Well. The club went

89
00:14:35.360 --> 00:14:41.919
on to meet over the years until
the mid nineteen seventies, and during that

90
00:14:41.080 --> 00:14:48.559
long time period, the club painstakingly
raided over seven hundred hits of the Big

91
00:14:48.639 --> 00:14:56.600
Band era. Angelo Carbone, Ralphie's
son, who's now over ninety years old

92
00:14:56.639 --> 00:15:01.879
and living in Naples, Florida and
still an avid listener of the program,

93
00:15:03.279 --> 00:15:09.960
Well, several years ago he shared
the Ralphie's Record Club list with my old

94
00:15:09.080 --> 00:15:16.919
radio producer and friend Lenny from down
the block. Lenny loaded those over seven

95
00:15:16.000 --> 00:15:22.919
hundred tunes into the Make Believe Ballroom
playlist over many many months a few years

96
00:15:24.000 --> 00:15:28.960
back. So here from the Crystal
Studio, I have those songs as mentioned,

97
00:15:30.080 --> 00:15:35.120
all loaded into my playlist and ready
to go. So what we have

98
00:15:35.240 --> 00:15:43.360
been doing for the last several broadcasts
is to spin the Virtual Wheel, which

99
00:15:43.399 --> 00:15:50.600
is actually a randomized number program I
have loaded onto the computer that I found

100
00:15:50.679 --> 00:15:56.720
on Google, and then play that
tune. I really love this segment of

101
00:15:56.759 --> 00:16:03.000
the program because not even I know
what number will be coming up? So

102
00:16:03.200 --> 00:16:08.799
let me activate the randomizer, spin
the virtual wheel and see which selection from

103
00:16:08.799 --> 00:16:15.279
the Ralphie's Record Club list we will
now play, and the wheel lands on

104
00:16:18.279 --> 00:16:25.360
lands on number five three eight five
three eight. Let me just look this

105
00:16:25.600 --> 00:16:32.360
up. Oh boy, here is
one where I totally totally disagree with Ralphie

106
00:16:32.440 --> 00:16:37.120
and the Record Club. I don't
think they were off by say, fifty

107
00:16:37.240 --> 00:16:44.360
numbers, but oft in my estimation, by maybe two hundred spots or more.

108
00:16:45.720 --> 00:16:52.960
So. Here's the famous original version
of the Cassoloma Orchestra's instrumental swing classic

109
00:16:52.080 --> 00:16:59.840
No Name Jive that was actually composed, if I'm not mistaken by the bands

110
00:16:59.879 --> 00:17:06.400
or ranger at the time, Larry
Wagner. This song was released on Decca

111
00:17:06.519 --> 00:17:14.279
Records back in nineteen forty. And
the quandary that I currently faces should I

112
00:17:14.319 --> 00:17:22.279
play side A or go full bore
and play A and B, which is

113
00:17:22.359 --> 00:17:29.880
the entire recording of No Name Jive
A and B both sides? Is my

114
00:17:30.039 --> 00:23:26.559
choice? Me atish little less,
says nos s attracting Captain acting acting Captain

115
00:23:26.119 --> 00:24:11.839
acted No Name Jive Parts one and
two, Side A and B by Glenn

116
00:24:11.039 --> 00:24:18.599
Gray and The Castle Loomo Orchestra.
Ralphie's record club members probably indulged in a

117
00:24:18.640 --> 00:24:23.240
little too much wine, placing this
tune at five hundred and thirty eight.

118
00:24:25.240 --> 00:24:29.519
I don't know what the reasoning was. Again, in my estimation, a

119
00:24:29.599 --> 00:24:36.960
few hundred places too low. What
do you guys think? I know what

120
00:24:37.119 --> 00:24:40.599
I think. I think, well, I know what I think. You

121
00:24:40.799 --> 00:24:45.400
are listening to the original Make Believe
Ballroom broadcast on the radio, as well

122
00:24:45.480 --> 00:24:52.880
as currently with the type of technology
we have today, listening preferences and taste

123
00:24:52.240 --> 00:24:59.319
changes also weekly on a podcast,
and I could be reached in the Crystal

124
00:24:59.400 --> 00:25:04.440
studio Jeff at MakeBelieve Ballroom Radio dot
com. That's Jeff at MakeBelieve Ballroom Radio

125
00:25:04.559 --> 00:25:08.480
dot com. And in just a
little while I will acknowledge some of the

126
00:25:08.559 --> 00:25:17.880
emails I received over the last week
and also discuss someone that challenges some music

127
00:25:18.079 --> 00:25:25.480
history I related to you last week. More also from Ralphie's list a little

128
00:25:25.599 --> 00:25:32.720
later on in the program. But
first Jazz on a Summer's Day was a

129
00:25:33.319 --> 00:25:41.880
nineteen fifty nine concert film set at
the nineteen fifty eight Newport Jazz Festival at

130
00:25:42.000 --> 00:25:48.359
Classic Festival in Newport, Rhode Island. It's a wonderful film to watch jazz

131
00:25:48.440 --> 00:25:53.759
on a summer's day, and it
could be found on YouTube. There are

132
00:25:53.880 --> 00:25:59.720
right around, I would say a
dozen performances from some of the old time

133
00:26:00.119 --> 00:26:10.480
rates at that time, including Thelonious
Monk, Nita O'Day was at the Jays

134
00:26:10.599 --> 00:26:18.920
Festival that was filmed, Chuck Berry, Dinah Washington, some great music by

135
00:26:19.119 --> 00:26:27.240
Maheliat Jackson, and the great Louis
Armstrong. So why don't I play from

136
00:26:27.400 --> 00:26:34.759
the Louis Armstrong set upp a Lazy
River Tiger Rag and we played jack t

137
00:26:34.960 --> 00:26:41.440
Garden earlier in the program, So
why not an encore along with Louie and

138
00:26:41.960 --> 00:26:59.680
Rocking Chair. The city is yours
up the lazy River, where the old

139
00:27:00.240 --> 00:27:11.799
run up the lazy River, with
the noon sun linging in the shed off

140
00:27:11.839 --> 00:27:19.119
the kind of tree do we troubles? Dreamer, dream of be Dreamer dream

141
00:27:19.359 --> 00:27:32.119
be up the lazy River weather roblin
song, two bright lights as we stroll

142
00:27:32.200 --> 00:27:44.559
along Blue Scots off above the one
I love up the Lazy River, How

143
00:27:44.680 --> 00:28:03.400
happy we will be? Mama yet
oppult two centsts bad, but it's my

144
00:28:03.640 --> 00:28:25.799
love ba to the t s B
diy do s lady did Papa didn't no,

145
00:28:26.119 --> 00:28:37.720
say so my love up the lazy
river. M hm woo river mm

146
00:28:37.799 --> 00:30:02.240
hmm river. Oh you don't river, its wing a car coming b the

147
00:30:02.880 --> 00:32:36.519
moment, a strong oh, Rockin
just got me old rockets. You got

148
00:32:36.599 --> 00:32:45.799
your father, Ye, mama'sza and
you came by your side. That's me,

149
00:32:46.160 --> 00:32:57.960
my gemson. You know you don't
drink gin father, but den you's

150
00:32:58.079 --> 00:33:07.839
already turn Yeah, get from this
cavil wo Gavin choking father, that's a

151
00:33:07.240 --> 00:33:20.599
good no you we good nowhere else
just sitting your grabbing, grabbing and the

152
00:33:20.839 --> 00:33:32.079
flood. My rocket rocket chair.
Lolly remembered the rule and her Yes,

153
00:33:34.160 --> 00:33:40.119
I remember an area long and he
be oh she been up nobody in her

154
00:33:40.279 --> 00:33:59.799
father semi sweet joy love the troubles, my sweet Jerry, Oh rocket cheer

155
00:34:00.640 --> 00:34:07.920
got me look rocking jacket and father
and the judge. One day he's coming

156
00:34:07.039 --> 00:34:27.159
up on he's hell about and faster. Jill. Right now, look at

157
00:34:27.239 --> 00:34:30.679
BARNI you remember oldland, Harriet,
don't you? I know you? Yeah,

158
00:34:30.280 --> 00:34:38.920
yeah, I know it pretty well. We're not done well by forty

159
00:34:39.039 --> 00:34:46.360
two cents, Yes spent you.
My child is a cherrit. I got

160
00:34:46.440 --> 00:34:52.119
to ride. I'm gonna have a
cherry curse, the times be troubled,

161
00:34:52.199 --> 00:34:57.199
both of us disease. None of
those trouble. I see now old rocking

162
00:34:57.360 --> 00:35:31.559
Jacket, yes not rocket, the
Louis Armstrong set from the nineteen fifty eight

163
00:35:31.760 --> 00:35:37.480
Newport Jazz Festival. And again I
encourage you to view the film Jazz on

164
00:35:37.639 --> 00:35:45.960
a Summer's Day about that festival,
and it can be found on YouTube and

165
00:35:45.159 --> 00:35:49.679
right now here on the Make Believe
Ballroom. It's once again time to listen

166
00:35:49.760 --> 00:36:07.719
to a great remaster tune from our
friends at Past Perfect. I've just found

167
00:36:07.880 --> 00:36:16.199
joy. I'm as happy as a
baby boy with another brand new chow cho

168
00:36:16.880 --> 00:36:30.320
joy. When I met my sweet
Lorree Loree Lora a pair of eyes that

169
00:36:30.480 --> 00:36:40.360
a brighter than the summer skies.
When you see them, you realize why

170
00:36:40.360 --> 00:36:51.719
I love my sweet Rages. Now
when it's rain and I don't missed the

171
00:36:51.960 --> 00:37:01.119
sun because it's in my baby smile. And to think that I am the

172
00:37:01.280 --> 00:37:14.760
lucky one that will lead her out
each night, I pray that no one

173
00:37:14.880 --> 00:37:23.480
will steal her heart away. I
can't wait until that lucky day. What

174
00:37:23.679 --> 00:38:23.440
a man a sweet lore Now when
it's rain and I don't missed son because

175
00:38:23.480 --> 00:38:31.559
it's in my baby's smile, and
to think that I am the lucky one

176
00:38:35.519 --> 00:38:45.079
that will leave her our love.
It's night. I pray that no one

177
00:38:45.199 --> 00:38:54.840
will steal her heart away. I
can't wait until that lucky day when a

178
00:38:55.079 --> 00:39:07.760
Marris we losera. But that from
the past Perfect album perfect nostalgia, best

179
00:39:07.920 --> 00:39:14.239
music of the twenties, thirties and
forties. That was Sweet Lorraine with the

180
00:39:14.679 --> 00:39:20.559
Nat King Cole trio You know friends. A few years back. The nice

181
00:39:20.639 --> 00:39:25.760
folks at past Perfect, who are
in Great Britain, allowed us here in

182
00:39:25.920 --> 00:39:34.760
the Crystal Studio to use many of
their digitally remastered songs to play on the

183
00:39:34.880 --> 00:39:39.239
Make Believe Ballroom. Whether you remember
these great tunes that I play for you

184
00:39:39.440 --> 00:39:45.760
each week from your youth, or
are discovering, perhaps for the first time,

185
00:39:45.000 --> 00:39:49.440
here on the Make Believe Ballroom,
you won't find a better sound or

186
00:39:49.599 --> 00:39:55.280
product on the market. Past Perfect
Unique albums make a great vintage present or

187
00:39:55.360 --> 00:40:01.599
a treasured addition to your own vintage
music library. Go to past Perfect and

188
00:40:01.880 --> 00:40:09.360
view their collection of nineteen Crystal clear
perfectly remastered albums. That's past perfect dot

189
00:40:09.480 --> 00:40:15.599
com. Past perfect dot Com.
They process orders from literally all over the

190
00:40:15.679 --> 00:40:22.360
globe. Past Perfect and now time
to acknowledge some of our listeners who took

191
00:40:22.440 --> 00:40:28.039
the time to write to us here
at the ballroom this past week. Listeners

192
00:40:28.280 --> 00:40:37.079
like Ernie Benke from Milwaukee, Lyle
Offeringhausen from Austin, Texas, Amy Lewin

193
00:40:37.280 --> 00:40:44.800
from Sherman Oaks, California, and
Kirk Murphy from Jupiter, Florida, who

194
00:40:45.239 --> 00:40:53.800
wrote to actually challenge my historical explanation
of the song Mister Paganini by Chick Webb

195
00:40:53.880 --> 00:41:00.159
and Ella Fitzgerald that we played on
last week's program. I said, you'll

196
00:41:00.239 --> 00:41:07.719
have to swing it. Mister Paganini
was a reference to the great violinist virtuoso

197
00:41:07.000 --> 00:41:15.599
Nicolo Paganini, while Kurt Murphy said
the song the song was intended actually as

198
00:41:15.639 --> 00:41:23.480
a satire on Arturo Tuscanini. Tuscanini
was also a legendary musician and conductor,

199
00:41:23.639 --> 00:41:30.440
most well known as the conductor of
the NBC Symphony Orchestra. He held that

200
00:41:30.679 --> 00:41:37.840
role from nineteen thirty seven to nineteen
fifty four, and this exposure made Tuscanini

201
00:41:37.800 --> 00:41:45.679
household name, especially in the United
States, through his radio and television broadcasts

202
00:41:45.760 --> 00:41:55.800
and many recordings of the operatic and
sympathonic repertoire that he conducted. It's said

203
00:41:55.880 --> 00:42:04.400
that perhaps the lyrics changed the name
from Tuscanini to Paganini, to not directly

204
00:42:04.599 --> 00:42:13.559
imply Tuscanini himself in the satirical lyrics
of mister Paganini. But well, who

205
00:42:13.679 --> 00:42:16.519
knows. So in a way,
Kurt Murphy, perhaps we are both correct,

206
00:42:17.079 --> 00:42:22.559
and I will leave it at that. And with that, I will

207
00:42:22.639 --> 00:42:25.199
leave my email, which is Jeff
at Make Believe Ballroom Radio dot com.

208
00:42:25.360 --> 00:42:30.159
That's Jeff at Make Believe Ballroom Radio
dot com. I encourage you to email

209
00:42:30.280 --> 00:42:37.320
me with your requests. And one
of those requests came from Amy Lewin from

210
00:42:37.039 --> 00:42:43.199
Sherman Oaks, California, who I
mentioned a few moments ago. So for

211
00:42:43.480 --> 00:43:00.760
you, Amy Lewin, this the
stars great for you and me angs to

212
00:43:00.519 --> 00:43:13.519
everyone love. Best things in life
avery, the stars be along to everyone.

213
00:43:15.280 --> 00:43:23.239
They glean there for you and me. The flowers in spring, the

214
00:43:23.360 --> 00:43:36.480
robbers of sea, the sun be
shine, the love can come to everyone.

215
00:43:37.320 --> 00:44:34.239
The best things in life are every
the flowers and springs, the rabbits,

216
00:44:34.239 --> 00:44:40.920
the scene, the side beams,
the shine, baby they're using mine

217
00:44:42.079 --> 00:44:51.119
and love can come to everyone.
The best things in life are free.

218
00:44:52.599 --> 00:45:08.360
The stars in the sky, the
moon on high God that was the best

219
00:45:08.480 --> 00:45:15.119
things in life are free. Joe
Stafford with Paul Weston and his orchestra,

220
00:45:15.320 --> 00:45:22.880
as requested by California's own Amy Lewin
and Joe and Paul Weston had a long

221
00:45:22.920 --> 00:45:30.199
and successful marriage as well as collaborating
on many of Joe's recordings and folks.

222
00:45:30.239 --> 00:45:36.280
Speaking of records, we now return
to the over seven hundred records of tunes

223
00:45:36.960 --> 00:45:42.880
from the Big Band era that comprised
the Ralphie's Record Club List. We found

224
00:45:43.039 --> 00:45:50.199
a little controversy when I played the
Castloma orchestras No Name Jive, and I

225
00:45:50.360 --> 00:45:55.000
objected to the Ralphie's Record Club List
members placing it at number five hundred and

226
00:45:55.159 --> 00:46:01.320
thirty eight. Let's see if we
spin in the wheel and we can randomly

227
00:46:01.840 --> 00:46:07.880
perhaps get a number ranking that falls
better in line than No Name Jive.

228
00:46:07.679 --> 00:46:17.000
So randomizer activated virtual wheel spinning and
it lands on number number one oh six

229
00:46:17.119 --> 00:46:22.679
one o six, And I think
this number is pretty fair and accurate,

230
00:46:22.360 --> 00:46:28.320
perhaps tad bit too high, but
a favorite we have played here on the

231
00:46:28.360 --> 00:46:34.800
ballroom several times over the years.
Mister five by five Freddy Slack and his

232
00:46:35.119 --> 00:47:19.920
orchestra vocal by Ella May Morse Well, twirl my turban man a life.

233
00:47:20.599 --> 00:47:25.800
He'll come. Mister five by five, he's one of those big fat bolls

234
00:47:25.880 --> 00:47:36.000
and boys solid avenue past mister five
by five. It's five feet tall,

235
00:47:36.199 --> 00:47:42.679
any five wie? He don't mean
you no more from head to two than

236
00:47:42.800 --> 00:47:51.320
a two from side to side.
Mister five by five got fifty chains and

237
00:47:51.400 --> 00:47:57.480
a line of child. He's a
mellow old cast oh real, half fast

238
00:47:57.679 --> 00:48:06.360
he be mister five Bye bye,
that man little jumped for a bad man.

239
00:48:07.000 --> 00:48:15.400
The only trouble is no way of
knowing whether he's coming on or colled.

240
00:48:15.159 --> 00:48:23.679
Mister five by five slightly flop on
his water side. He not shaking

241
00:48:23.920 --> 00:49:01.480
no more from head to to andy
to outside to side, fat man.

242
00:49:04.079 --> 00:49:08.239
Can we really jump it for a
fat man? Boys? The trouble is

243
00:49:08.280 --> 00:49:17.719
there's no way of knowing whether he's
coming up or going. Mister five by

244
00:49:17.880 --> 00:49:25.840
five, he's might be tall and
he's five. Why he nomination from here

245
00:49:25.920 --> 00:49:38.599
to dump it from side to side, Mister five by five. That was

246
00:49:38.920 --> 00:49:46.719
mister five by five, And this
record was a tribute to the real mister

247
00:49:46.880 --> 00:49:53.519
five by five. Jimmy Rushing the
Rotunda Jazz and blues vocalist with the Account

248
00:49:53.639 --> 00:50:00.840
Basie Orchestra, who I had the
opportunity to see later his life, almost

249
00:50:00.880 --> 00:50:05.840
at the end of his life,
performing in jazz clubs in New York,

250
00:50:05.960 --> 00:50:13.480
Sitting Mister five by five reached number
one on Billboard's Rhythm and Blues Chart as

251
00:50:13.559 --> 00:50:17.559
well as their top ten Pop chart. Freddie Slack lm A. Morse Mister

252
00:50:17.679 --> 00:50:25.679
five by five selected number one six
on the Ralphie's Record Club List on Friends.

253
00:50:25.760 --> 00:50:32.039
I neglected to mention also on that
record you also heard a male vocal,

254
00:50:32.079 --> 00:50:36.320
a brief male vocal, and that
was a cameo by the one and

255
00:50:36.400 --> 00:50:44.000
only Johnny Mercer. I think we
have time for one more tune, and

256
00:50:44.280 --> 00:50:49.880
here is one that certainly is towards
the top of any list of the great

257
00:50:50.000 --> 00:50:54.719
hits of the nineteen thirties and nineteen
forties. That's jumping at the woodside.

258
00:50:55.239 --> 00:51:00.480
We just mentioned to Count Basis,
So why not play some Count Basie recorded

259
00:51:00.559 --> 00:52:06.559
in New York City, August the
twenty second, nineteen thirty eight. Co

260
00:52:06.760 --> 00:54:14.639
Co Co co co co co Cock
Cock Colet. Is this they and folks?

261
00:54:14.719 --> 00:54:16.840
I think with that, perhaps it's
once again time to turn out the

262
00:54:16.960 --> 00:54:22.559
lights of the Make Believe Ballroom here
in the Crystal Studio in New York City.

263
00:54:22.719 --> 00:54:28.039
I really enjoyed bringing you today's selection
of great jazz and swing heads from

264
00:54:28.119 --> 00:54:31.840
the thirties and forties. You can
email me at Jeff at Make Believe Ballroom

265
00:54:32.000 --> 00:54:38.079
Radio dot com. That's Jeff at
MakeBelieve Ballroom Radio dot com. So until

266
00:54:38.239 --> 00:55:34.480
next week, this has been Jeff
Bresler. Just keep on dancing. Oh

267
00:55:34.599 --> 00:55:40.000
you've only a small room. Make
your ball room. Let's fas