April 4, 2025

Make Believe Ballroom - 4/4/25 Edition

Make Believe Ballroom - 4/4/25 Edition
Make Believe Ballroom - 4/4/25 Edition
Make Believe Ballroom
Make Believe Ballroom - 4/4/25 Edition

On this week's Make Believe Ballroom broadcast on member-supported Jazz 90.1 in Rochester, NY, and other fine radio affiliates across the United States as well as in the United Kingdom – more records recorded on the same day, a demanding Frank...

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On this week's Make Believe Ballroom broadcast on member-supported Jazz 90.1 in Rochester, NY, and other fine radio affiliates across the United States as well as in the United Kingdom – more records recorded on the same day, a demanding Frank Sinatra, a listner sends us a special record to play, Lenny from Down the Block and his record pick of the week - this and many more great songs to cherish and enjoy on the program.

WEBVTT

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It's make believe ballroom time. 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 belief.

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Ballom time and free to everyone.

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It's no time to friend your Dalis said Bamba.

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Yours.

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Close your eyes and visualize in your solitude.

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Your favorite bands are on this dance and mister Miller,

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but you in the wood.

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Its make believe ballroom time. We are of sweet romance

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is to make bottom. Come on, Joe, last dance.

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

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of the Make Belief Ballroom and welcoming you into my

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crystal studio for another program of the great big band

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hits of the nineteen thirties and nineteen forties. Whether you're

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listening on the radio via great affiliates like Jan's ninety

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point one WGMC in Rochester, New York, or on a podcast,

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or perhaps listening on internet radio across the United Kingdom,

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I'm delighted to bring you an hour of some wonderful

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big band jazz, swing, blues and boogie woogie classics. Folks,

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you are listening to the Make Believe Ballroom, broadcasting almost

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continuously since nineteen thirty five, and once again, welcome into

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my Crystal studio. And during that little opening, I said

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that I'm delighted to bring you an hour of someone full,

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big band jazz, and I will begin to deliver on

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that promise right now.

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They pay and pakful.

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Creating anything may any people.

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That was Ziggy Ellman and his Orchestra with Deep Night,

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recorded for Bluebird Records on November twenty seventh, nineteen thirty nine.

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I didn't check the release date when I put that

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into my playlist Deep Night. There's some significance there, I'll

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tell Well, let me tell you about that moment. First,

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I just wanted to mention that Ziggy Ellman, in actuality,

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did not have his own band in nineteen thirty nine.

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He used most of Benny Goodman's musicians for the record

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I just played, and at the time trumpet player, Ziggy

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Ellman was, as we most of us know, a valued

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member of Benny Goodman's orchestra. So the reason I was

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a little shocked and that I had to take a

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sip of water was that that record was recorded on

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November twenty seventh, that being my birthday, not nineteen twenty nine.

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But the same day and month, so I didn't realize that.

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As I mentioned now, I am moving my chair, scooting over,

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wheeling over to the other computer here. If you remember

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a few shows back, I think I did it twice.

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I matched to some records that were recorded on the

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same day. So why don't I see what was up

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on my birth date November twenty seven and November twenty seventh,

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nineteen thirty nine, putting that into this box here and

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whila magically. On that day, Victor had twenty four studio

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sessions with Ziggy Ellman, accounting four one, two, three four

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of those, and on the same day Jimmy Dorsey recorded

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five sides let me find one of those to play

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for you stand by Okay here, recorded on November the

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twenty seventh, nineteen thirty nine, Jimmy Dorsey and his orchestra

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with do it Again. We'll hear vocals by Helen O'Connell

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and Bob Everley.

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I love the way you kiys do it again. You've

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never seen to mess do it again. The sugle drips

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from your tu limbs.

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So honey, won't you kiss me again?

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I love the way you smile.

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Do it again?

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And every once in a while, do it again. Oh

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there it goes that wrinkled nose. But I love to

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see you do it again.

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You have a way of flirting. That's why I'm certain.

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From now on your mind.

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Oh there's no DeLine. I'm lucky. I am. Oh the

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children my spines. So won't you hold me? Kiss me again?

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And when we say good man, do it again? If

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one little kiss can ring such bleas.

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Then you know I'm gonna do it again. You have

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a way of certain That's why I'm certain. From love,

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oh your mind.

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There's no day nine. I'm lucky. I am. Oh, oh

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chill and mo spines.

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So won't you hold me to kiss me again? And

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when we say good night, do it again?

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If one little kids can bring such pleas, Oh do

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it again.

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Oh, even though it's not my birthday, Happy birthday to me,

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because those back to bank Ziggy Yellman and Jimmy Dorsey

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records were a great present indeed. And folks, how can

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I play Ziggi l Men without playing one by Benny

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Goodman Fish Benny Goodman and his Orchestra When you and

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I were young Maggie recorded on Victor Records December the ninth,

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nineteen thirty six. I'm Jeff Bresler, and you are listening

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

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coming to you today from my Crystal Studio. Let me

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play another tune then. Frank Sinatra, as we all know,

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was chairman of the board. And as a chairman, what

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did old blue eyes expect to be there on the

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ready in his dressing room whenever and wherever.

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He pre formed.

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I'll give you that tidbit of information shortly.

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You don't know how much you can stop it. You

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don't know how much you can super You don't know

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how much your heart can supper for the hunting you

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fall loved. You don't know when kiss is so tender.

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May come from a lovely bretender. You don't know the

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joy of surrander for the hunting.

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You fall in love.

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Drops in high ages together. That's what loves made of.

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You don't know how much you can suffer hunting you

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fall in love.

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You don't know how much you can suffer.

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You who don't you know how much that you can suffer.

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You don't know how much your heart can suffer hunting

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falling love throbs in hot takes do you get there.

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That's what loves is made of.

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Laddy, you don't know how.

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Much you can supper Hunted, you fall holy alone for

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hot drops and heart age together, That's.

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What loves made of. Oh, you don't know how much

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you can supper.

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You don't know how much you suffer until you fall

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in love, until.

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You fall loved, not until you fall The.

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Andrews Sisters, you Don't Know how Much You Can Suffer,

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recorded on Decca Records in New York City on March third,

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nineteen thirty nine, A great tune when you might not

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have heard but back in nineteen thirty nine, you Don't

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Know how Much You Can Suffer was recorded by several

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bands and different vocalists. So before the Sisters, I said

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that I would let you in on what Frank Sinatra

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made perfectly clear that he wanted in his dressing room

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when he appeared in concert. In order for me to

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do that, I'm going to have to tell you a

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little story. Many of you folks might remember the iconic

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singing duo, the husband and wife duo of Steve Lawrence

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and Edie Gourmet, who were treasured figures in the music

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industry during I guess the sixties, seventies and eighties, nineties

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and beyond until for I think Edie passed first and

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then Steve passed after that. Well, nevertheless, they were invited

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to participate with Frank Sinatra in a series of concerts

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that was called the Diamond Jubilee World Tour. It was

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a long series of concerts. It started the first show

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was on December the eleventh, nineteen ninety and the series

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lasted almost a year, went to November sixteenth, nineteen ninety one,

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and it was indeed a world tour, taking Steve and

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Edie and Frank Sinatra literally across the globe. Steve and

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Edie although immensely popular at the time and when they

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appeared in Las Vegas and in concerts, they were of

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course the feature act. But to Frank Sinatra they acted

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simply as the opening act. Interesting fact, there now in

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their contract, Steven EDI's contract for the Diamond Jubilee, they

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were very low maintenance when it came to requesting amenities

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for their dressing room. In their contract, they simply asked

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that at each stop along the concert tour their dressing

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room have a coffee set up and bottled water. That's

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all they asked for now. Of course, the larger than

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life Frank Sinatra had much more grandiose requests as we

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would expect. I'm sure he hosted on many occasions VIPs

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and friends before or after his shows. So let me

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just pull up this list of Frank Sinatra requests via

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his contract for the Diamond Jubilee World Tour. Well, the

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first thing he asked for on the list was a

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color TV. Back in nineteen ninety. I don't think many

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folks had black and white TVs anymore, but Frank wanted

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to make sure that the one he got that he

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wasn't sure changed that it was a color TV. He

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also wanted an upright piano that I could understand. It

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was probably to tune up his voice before the show,

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also to help with his voice, and probably to prevent soreness.

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Sinatra asked for twelve rolls of cherry flavored life savers,

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an additional twelve rolls of assorted flavored life savers, and

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a dozen boxes of Looten's cough drops in cherry and

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honey flavor. Sounds like Frank like cherry flavored lozengers. Luckily, Frank,

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in his contract wasn't required to I guess stick his

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tongue out during a performance, because I'm sure the audience

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would have been aghast if they had to stare at

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his red tongue.

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Let's see.

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Frankie also insisted on three cans of Campbell's chicken and

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rice soup with a crock pot in which to cook it,

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plus a ladle and four porcelain soup bowls to serve it,

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along with silverware and a double burner hotplate like Steven Edie.

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He also requested hot coffee and a tea kettle with

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a gallon of spring water plus cream and sweeteners. In addition,

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twenty four cold diet and regular sodas, including coke, with

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seventy five percent of the cans or bottles being the

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diet version. When there we came up with that mathematical theory. Nevertheless,

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to satisfy his appetite, frank required a fruit bowl, a

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cheese tray with brie and crackers, two egg salad sandwiches

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to chicken salad sandwiches to ham and cheese sandwiches. I

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wonder if they were wrapped in cell of fane or

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served in a little more classic manner. He also requested

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potato chips and pretzels, plus a bowl of many tutsi rolls.

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He also wanted to make sure that there was honey,

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lemon limes, six linen napkins, six boxes of Kleenex, six

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hand towels, and to dry his hands after using two

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bars of ivory soap he requested also asked for six

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white bath towels as well, and I would assume that

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was just to probably dry himself off after being on

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the stage, probably worked up a sweat. He also asked

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for a private telephone and a dedicated line. So many

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of you must be saying, Jeff, you're leaving one very

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important factor about Frank Sinatra out, And of course you

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may be asking about a liquor. So on the bar,

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car Old Blue Eyes wanted bottles of Absolute vodka, Jack Daniels, whiskey, Shivas,

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Regal Scotch, beefeeder Gin, white wine, red wine, and Corvasier,

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accompanied by ginger Ale club soda and tonic water with

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one bucket of ice. And to serve things up, he

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wanted twelve wineglasses, twelve rocks glasses and twelve water glasses,

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and finally, for Frank Sinatra, a carton of camel cigarettes unfiltered.

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That's what Frank Sinatra requested in his contract during his

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dressing room stops during the Diamond Jubilee world tour. You know,

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folks reading that list, and I'm not kidding about this

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when I say that you could see probably can see

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Frank's humble, Hoboken, New Jersey roots in his requests. There

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is something. It's actually very sweet and middle class. And

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some of his requests when he could have had anything,

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asking for Campbell's soup, egg salad and chicken salad sandwiches. Again,

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he could have requested anything he wanted, but he settled.

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I guess on what he grew up with. So an

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interesting look at Frank Sinatra's dressing room requested ironments here

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on the make Believe ball room.

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When we're the Will's called evening is nine. I hurried

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to mind my Blue Heaven.

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Hut. Turned to the right, A little wild light. We'll

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lead you.

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To mind Blue Heaven.

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You see a smiling face, the fireplace, a cozy room,

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a little nest that's nestled where the roses bloom.

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Just Molly and me and baby make Street.

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We're so happy in mind.

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In my Blue Heaven.

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00:26:48.240 --> 00:26:57.079
You see a smiling face, fireplace, cozy room, a little

231
00:26:57.480 --> 00:27:01.759
nest that's nestled, wet that's nestled.

232
00:27:01.400 --> 00:27:02.880
Where the roses blue.

233
00:27:04.680 --> 00:27:13.000
Molly Baby makes three. We're happy in my Happy, in

234
00:27:13.200 --> 00:27:14.440
my Heaven.

235
00:27:17.799 --> 00:27:24.000
One thing certain weird Blue in My Blue Heaven.

236
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Frank Sinatra My Blue Heaven, recorded on Columbia Records in

237
00:27:33.440 --> 00:27:39.039
nineteen forty nine. One more record, then a very cool

238
00:27:39.480 --> 00:27:40.759
listener's email.

239
00:28:39.839 --> 00:28:40.400
Why it is.

240
00:28:40.559 --> 00:28:43.880
Black and black is white for no good reason that

241
00:28:44.039 --> 00:28:51.440
I know, Only that my baby says it's so. Night

242
00:28:51.680 --> 00:28:54.880
is day and day is night. The moon at noon

243
00:28:55.039 --> 00:28:59.559
is all aglow, just because my baby says it. So

244
00:29:02.880 --> 00:29:08.440
I caught her kissing someone else. To my confusion, she

245
00:29:08.720 --> 00:29:12.680
said what I saw was an optical illusion.

246
00:29:13.680 --> 00:29:15.960
I was wrong and she was right.

247
00:29:16.279 --> 00:29:20.440
And as I said a while ago, that's because my

248
00:29:20.640 --> 00:29:21.519
baby says.

249
00:29:21.599 --> 00:29:22.200
It's all.

250
00:30:23.759 --> 00:30:27.440
From Decca Records. We just heard cause my baby says

251
00:30:27.720 --> 00:30:32.480
it's so. By Mal Hallett and his orchestra vocal by

252
00:30:32.640 --> 00:30:36.079
Buddy Welcome, You're Welcome, recorded in New York City, made

253
00:30:36.160 --> 00:30:41.359
the tenth nineteen thirty seven. I think Mal he had

254
00:30:41.400 --> 00:30:48.319
a really good orchestra, but unfortunately he suffered. How do

255
00:30:48.440 --> 00:30:50.519
I describe this, I guess you would call it a

256
00:30:50.680 --> 00:30:56.359
generational problem. The song we just heard was recorded in

257
00:30:56.559 --> 00:31:01.759
nineteen thirty seven, and I'm looking AT's birth year, so

258
00:31:01.920 --> 00:31:04.559
he would have been forty five years old when he

259
00:31:04.720 --> 00:31:09.720
recorded it. So Hallat, in essence, was an older swing

260
00:31:10.079 --> 00:31:14.759
band leader, and I assume because of his age he

261
00:31:14.880 --> 00:31:18.160
had trouble winning over a younger fans. That of course,

262
00:31:18.359 --> 00:31:22.720
to the detriment of his career a shame. But here

263
00:31:22.880 --> 00:31:26.440
on the Make Believe Ballroom he is remembered for your

264
00:31:26.599 --> 00:31:32.440
listening pleasure, close to ninety years after that record was made.

265
00:31:33.400 --> 00:31:46.720
And now, folks, letters letters. As I say each week,

266
00:31:46.880 --> 00:31:49.759
we have emails, not letters per se, and I'm about

267
00:31:49.839 --> 00:31:52.720
to read one, but first I'd love to hear from

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00:31:52.759 --> 00:31:57.440
you with your comments, remembrances, and requests. I'm Jeff at

269
00:31:57.519 --> 00:32:01.799
Make Believe Ballroom Radio dot com. That's Jeff at MakeBelieve

270
00:32:01.880 --> 00:32:05.440
Ballroom Radio dot com. You could also leave us a

271
00:32:05.599 --> 00:32:10.720
voice request by going to Make Believe Ballroom Podcast dot com.

272
00:32:10.880 --> 00:32:15.359
That's MakeBelieve Ballroom Podcast dot com and hitting the microphone

273
00:32:15.480 --> 00:32:18.799
button in the lower right hand corner of the page.

274
00:32:18.920 --> 00:32:23.920
Also on MakeBelieve Ballroom Podcast dot Com, you could hear

275
00:32:24.160 --> 00:32:29.039
past shows. Once our shows clear all of our radio stations,

276
00:32:29.119 --> 00:32:33.759
I take those programs and put them in a podcast form.

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00:32:34.519 --> 00:32:38.240
I think we probably have close to two hundred shows

278
00:32:38.960 --> 00:32:42.839
since I started putting them in podcast form. Many more

279
00:32:42.920 --> 00:32:45.480
that I just haven't gotten around through some of the

280
00:32:45.599 --> 00:32:50.359
older ones. But nevertheless, past shows could be heard at

281
00:32:50.480 --> 00:32:54.880
MakeBelieve Ballroom podcast dot com. So the email I have

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00:32:55.119 --> 00:33:01.640
here before me is from Helen den Sesky, who listens

283
00:33:01.720 --> 00:33:04.960
on iHeart Radio. I don't know if she listens to

284
00:33:05.160 --> 00:33:09.119
our podcasts on iHeart or perhaps she's a listener of

285
00:33:09.279 --> 00:33:16.480
Jazz ninety point one WGMC, which broadcasts live in addition

286
00:33:17.519 --> 00:33:23.680
to their program over terrestrial airwaves. They do it over iHeartRadio. Okay,

287
00:33:23.759 --> 00:33:27.079
so let's go on, she writes. Dear Jeff, I listened

288
00:33:27.119 --> 00:33:30.440
to the Make Believe Ballroom several weeks ago, and you

289
00:33:30.519 --> 00:33:33.200
played a song that was the first time Dean Martin

290
00:33:33.359 --> 00:33:37.000
ever made a record. Funny, I just thought of it.

291
00:33:37.400 --> 00:33:40.559
We just did a segment of Frek Sinatra, and now

292
00:33:40.559 --> 00:33:44.640
I'm talking about his great friend Dean Martin. But let

293
00:33:44.680 --> 00:33:46.519
me get back to the email. I'll start from the

294
00:33:46.640 --> 00:33:49.759
top again. Dear Jeff, I listened to the Make Believe

295
00:33:49.799 --> 00:33:52.440
Ballroom several weeks ago when you played a song that

296
00:33:52.640 --> 00:33:54.880
was the first time Dean Martin ever made a record.

297
00:33:55.599 --> 00:33:57.279
I'd like to tell you that I have a very

298
00:33:57.359 --> 00:34:00.519
special record in my possession that I acquire after my

299
00:34:01.559 --> 00:34:05.680
great aunt passed away several years back. She was a

300
00:34:05.759 --> 00:34:10.400
parishioner at Our Lady of Solitude Catholic Church in Palm Springs.

301
00:34:11.199 --> 00:34:14.440
To raise money for an important and improvement excuse me

302
00:34:14.559 --> 00:34:17.559
project at Our Lady of Solitude back in the mid

303
00:34:17.719 --> 00:34:22.400
nineteen thirties, it was decided to run a parade fundraiser

304
00:34:22.599 --> 00:34:29.760
called Desert Circus, which eventually became Desert Circus Week. The

305
00:34:29.840 --> 00:34:34.360
event became very large and expanded as the years went along.

306
00:34:35.519 --> 00:34:39.360
My great aunt was active on many committees for the

307
00:34:39.519 --> 00:34:44.039
Desert Circus. She had an autograph book that I also

308
00:34:44.239 --> 00:34:47.199
now have with the signatures of some of the celebrities

309
00:34:47.239 --> 00:34:51.360
who attended the Desert Circus Week, many of who were

310
00:34:51.480 --> 00:34:55.320
Grand Marshals. Some of the signatures I have are from

311
00:34:55.639 --> 00:35:02.440
Bob Hope, Clark Gable, Alice Faye and Phil Harris, Gene Ortry,

312
00:35:03.840 --> 00:35:08.000
Lucille Ball, and Dean Martin. Wow, that's impressive. In nineteen

313
00:35:08.119 --> 00:35:12.480
fifty eight, As she Goes On, the Desert Circus decided

314
00:35:12.559 --> 00:35:17.320
to each year honor one of the United States. Texas

315
00:35:17.559 --> 00:35:22.199
was the first state honored. The songwriters Jimmy Van Houston

316
00:35:22.840 --> 00:35:27.719
and Sammy Kahn both had homes in Palm Springs. In

317
00:35:27.880 --> 00:35:32.079
honor of the Texas celebration, they got together and wrote

318
00:35:32.119 --> 00:35:35.559
a song called twelve hundred Miles from Palm Springs to

319
00:35:35.719 --> 00:35:40.599
Texas just for the event. Dean Martin came to Palm

320
00:35:40.719 --> 00:35:44.360
Springs and sung the song for the first time at

321
00:35:44.440 --> 00:35:47.599
the Desert Circus Gala ball, which was held at the

322
00:35:47.760 --> 00:35:52.360
old L Mirrodor Hotel, which I think is now a hospital.

323
00:35:53.360 --> 00:35:56.360
I have a recording of that song sung by Dean.

324
00:35:57.400 --> 00:36:01.960
From what I understand, I've been told, each guest at

325
00:36:02.039 --> 00:36:05.440
the gala received a copy of the record when they left.

326
00:36:06.440 --> 00:36:10.039
Maybe more were given out. I'm not sure, but I

327
00:36:10.239 --> 00:36:14.280
understand the record was special and never released to the public.

328
00:36:15.159 --> 00:36:19.639
It's a forty five rpm record. My nephew took it

329
00:36:19.760 --> 00:36:23.519
and made the record into an MP three. I have

330
00:36:23.719 --> 00:36:26.599
sent it and attached it in this email to you.

331
00:36:27.519 --> 00:36:30.119
I know you really just do music from the big

332
00:36:30.239 --> 00:36:33.840
band era, which I so enjoy but can you make

333
00:36:33.880 --> 00:36:37.159
an exception and play this song even though it is

334
00:36:37.280 --> 00:36:42.800
from nineteen fifty eight, signed Helen den Sesky for you,

335
00:36:43.039 --> 00:36:44.599
Helen anything.

336
00:36:53.880 --> 00:36:58.199
It's twelve hundred miles from Paul Springs to Texas, but

337
00:36:58.360 --> 00:37:04.039
tonight it's right next door for a week each year.

338
00:37:04.480 --> 00:37:11.440
It's the old Frontier, that's what brings them here Western amosphere.

339
00:37:11.559 --> 00:37:15.840
You can't tell the dudes from real riding cowboys in

340
00:37:15.960 --> 00:37:18.559
this Sasha across.

341
00:37:18.239 --> 00:37:24.280
The floor as a circus means lots and lots of trails.

342
00:37:24.159 --> 00:37:26.199
Folks from Houston, Yeah.

343
00:37:26.360 --> 00:37:31.559
And from Beverly Hills, Browning, from the Shamrock right to.

344
00:37:32.280 --> 00:37:33.880
The Elmira door.

345
00:37:36.280 --> 00:37:37.960
You'll find it's.

346
00:37:37.880 --> 00:37:41.800
Too well under miles from Palm Springs the Texas.

347
00:37:41.920 --> 00:37:44.760
But tonight here's why.

348
00:37:50.599 --> 00:37:52.559
Do you see that parade?

349
00:37:52.800 --> 00:37:58.039
Do you hear that parade coming down Palm Canon Drive?

350
00:37:59.320 --> 00:38:03.199
If you see that parade, come on and cheer that parade.

351
00:38:03.719 --> 00:38:08.880
If you're eight or eighty five, who's that right?

352
00:38:10.039 --> 00:38:11.039
Oh? My head?

353
00:38:12.119 --> 00:38:17.599
Why is the governor Texas? Someone said, what's he doing

354
00:38:19.039 --> 00:38:24.199
of this way? Why is Paul Springs and Texas there?

355
00:38:42.960 --> 00:38:43.159
Oh?

356
00:38:43.480 --> 00:38:47.760
You can't tell the dudes from real riding cowboys in

357
00:38:47.920 --> 00:38:54.280
this sashay across the floor, folks trade and in all

358
00:38:54.480 --> 00:39:00.639
the catalas, all those pinto ponies and cow hides, and

359
00:39:01.000 --> 00:39:01.440
there's no.

360
00:39:01.639 --> 00:39:06.199
One left down the name in Marcus's.

361
00:39:08.480 --> 00:39:13.760
Because it's twelve hundred miles from Palm Springston, Texas.

362
00:39:13.880 --> 00:39:14.400
But not.

363
00:39:16.360 --> 00:39:30.280
Tried Dean Morton a special record made for the Desert

364
00:39:30.559 --> 00:39:36.280
Circus in Palm Springs, California in nineteen fifty eight. Helen,

365
00:39:36.360 --> 00:39:39.079
thank you so much for the record. I loved the tune,

366
00:39:39.840 --> 00:39:42.800
and also thanks for letting us know about an event

367
00:39:42.960 --> 00:39:49.480
I never heard of, the Desert Circus fundraiser in Palm Springs, California.

368
00:39:50.519 --> 00:39:54.679
So twelve hundred miles from Palm Springs to Texas was,

369
00:39:54.880 --> 00:39:59.639
as Helen had mentioned, written by Sammy Cohn and Jimmy

370
00:39:59.760 --> 00:40:04.599
Van Huston, So let's pay tribute to both of them. First,

371
00:40:04.800 --> 00:40:05.639
to Sammy Kah.

372
00:41:20.119 --> 00:41:24.559
It seems to me I've heard that song before.

373
00:41:25.719 --> 00:41:26.480
It's from an.

374
00:41:26.480 --> 00:41:28.519
Old, familiar score.

375
00:41:29.639 --> 00:41:32.199
I know it well, that melody.

376
00:41:36.840 --> 00:41:39.159
It's funny how we.

377
00:41:40.760 --> 00:41:43.480
Recall the favor of dreams.

378
00:41:44.760 --> 00:41:47.960
The dream let Robbie is so close to.

379
00:41:48.159 --> 00:41:54.280
Me, and each word because of her.

380
00:41:54.519 --> 00:42:03.960
That song before the lyrics said forever, forever more the memory,

381
00:42:08.400 --> 00:42:14.639
Please have them playing again, and I remember.

382
00:42:14.599 --> 00:42:17.920
Just when of her The lovely song.

383
00:43:03.440 --> 00:43:07.519
I've heard that song before, composed by Julie Stein and

384
00:43:07.760 --> 00:43:11.760
Sammy Kahan, by Harry James and his Orchestra, with the

385
00:43:11.880 --> 00:43:16.960
vocal by Helen Forrest, recorded on Columbia Records, and that

386
00:43:17.159 --> 00:43:21.000
record was a number one song for Harry in nineteen

387
00:43:21.199 --> 00:43:25.360
forty three. Now let me play one from Jimmy Van Heuston.

388
00:43:32.559 --> 00:43:37.599
Would you like to swing on star, carry moonbeams home

389
00:43:37.679 --> 00:43:41.360
and a jar and be better off than you are?

390
00:43:43.400 --> 00:43:45.039
Or would you rather be a mule?

391
00:43:46.199 --> 00:43:50.360
A mule is an animal with long, funny ears, kicks

392
00:43:50.440 --> 00:43:52.000
up about anything he hears.

393
00:43:52.960 --> 00:43:53.960
His that is b.

394
00:43:56.239 --> 00:43:59.599
He's just playing stupid with the stubburn Street and by

395
00:43:59.679 --> 00:44:03.679
the if you hate to go to school, you may

396
00:44:03.760 --> 00:44:06.719
grow up to be a mule. Or would you like

397
00:44:06.920 --> 00:44:11.199
to swing on a star, carry moon names home in.

398
00:44:11.239 --> 00:44:16.480
A jar and be better rob than you are? Rude?

399
00:44:17.000 --> 00:44:20.719
Or would you rather be a pig? Oh Bige gives

400
00:44:20.800 --> 00:44:24.199
an animal with dird on his face. Issues are a

401
00:44:24.360 --> 00:44:25.400
terrible disgrace.

402
00:44:26.639 --> 00:44:27.320
He has no.

403
00:44:27.639 --> 00:44:31.519
Manners when he eats his food. He's fat, lazy, and

404
00:44:31.679 --> 00:44:34.880
extremely rude. But if you don't care a feather or

405
00:44:34.960 --> 00:44:38.719
a fig. You may grow up to be a pig.

406
00:44:39.760 --> 00:44:43.639
Or would you like to swing on a star, carry

407
00:44:43.760 --> 00:44:45.079
moon games home.

408
00:44:44.920 --> 00:44:48.880
In a jar man, be better rob than you are?

409
00:44:50.880 --> 00:44:54.639
Or would you rather be a fish? A fish won't

410
00:44:54.719 --> 00:44:58.039
do anything but swim in a brook. He can't write

411
00:44:58.079 --> 00:44:58.679
his name or.

412
00:44:58.679 --> 00:44:59.280
Read a book.

413
00:45:00.599 --> 00:45:04.360
To fool up people is his only thought. And though

414
00:45:04.559 --> 00:45:06.760
he's slippery, he still gets caught.

415
00:45:06.920 --> 00:45:09.519
But then, if that sort of life is what you wish,

416
00:45:11.239 --> 00:45:25.000
you may grow up to be a fish, a new

417
00:45:25.159 --> 00:45:27.039
kind of jumped up slippery fish.

418
00:45:27.760 --> 00:45:33.079
Handle the monkeys iver zoo every day. You need quite

419
00:45:33.119 --> 00:45:36.800
a few. So you see, it's all up to you.

420
00:45:39.000 --> 00:45:45.800
You can be better than you all. You could be

421
00:45:45.880 --> 00:45:47.400
Swinging on a Stone.

422
00:45:53.440 --> 00:45:57.400
From the movie Going My Way that started Bing Crosbie,

423
00:45:57.599 --> 00:46:01.519
issued on Decca Records. Swinging on a Star written by

424
00:46:01.679 --> 00:46:06.719
Jimmy Van Heuston and Johnny Burke, recorded by Bing Crosby

425
00:46:07.000 --> 00:46:12.599
with the Williams Brothers Quartet Orchestra conducted by John Scott Trotter,

426
00:46:13.440 --> 00:46:18.480
Recorded February the seventh, nineteen forty four. That like I've

427
00:46:18.519 --> 00:46:21.800
heard that song before was also a number one record

428
00:46:22.000 --> 00:46:23.800
in forty four.

429
00:46:25.199 --> 00:46:27.159
And you know.

430
00:46:27.199 --> 00:46:31.760
I'm just thinking the Williams Brothers Quartet that Bing recorded

431
00:46:31.840 --> 00:46:36.079
that song with. If I'm not mistaken in a multitasking

432
00:46:36.199 --> 00:46:41.559
here going into Google, I think that the great singer

433
00:46:42.119 --> 00:46:47.159
Andy Williams, who had a television show, variety show for many,

434
00:46:47.280 --> 00:46:51.239
many years. I think that was him and his brothers,

435
00:46:51.320 --> 00:46:54.880
the Williams Brothers Quartet, And.

436
00:46:56.519 --> 00:46:58.360
Yes it was. How do you like that?

437
00:46:58.519 --> 00:47:05.320
Andy Williams was sixteen when he recorded when he first

438
00:47:05.360 --> 00:47:08.559
started recording with the Williams Brothers Quartet, So I don't

439
00:47:08.559 --> 00:47:11.079
know how many years the Williams Brothers Quartet was in

440
00:47:11.239 --> 00:47:15.840
existence when Ben Crosby recorded Swinging on a Star. But

441
00:47:15.920 --> 00:47:20.760
an interesting fact there Andy Williams recording along with Ben Crosby.

442
00:47:21.760 --> 00:47:24.719
And now, friends, we move on to a moment I'm

443
00:47:24.840 --> 00:47:28.440
sure you have all been waiting for. It is time

444
00:47:28.679 --> 00:47:33.719
for Lenny from down the Block and his record pick

445
00:47:33.840 --> 00:47:38.920
of the week. Yes, Lenny the producer emeritus, former producer,

446
00:47:39.079 --> 00:47:44.719
retired producer of this program, mister Excitement, himself, the virtuoso

447
00:47:44.960 --> 00:47:49.519
of the virtual turntable, back with another recorded segment from

448
00:47:49.639 --> 00:47:53.920
higher Top, his palatial condo in the heart of Tampa, Florida.

449
00:47:54.880 --> 00:47:57.960
Hi gang, Lenny from down the block here with my

450
00:47:58.159 --> 00:48:01.199
record pick of the week. Did you know that record

451
00:48:01.280 --> 00:48:05.679
pickers were in great demand when radio introduced disc jockeys

452
00:48:05.719 --> 00:48:09.400
in the nineteen thirties. Radio studios at the time had

453
00:48:09.440 --> 00:48:15.320
a turntable, hosts, microphone, and engineers booth. As you can imagine,

454
00:48:16.079 --> 00:48:18.960
there were no computers to keep track of records or

455
00:48:19.079 --> 00:48:24.079
modern methods like using an MP three awavefile. The disc

456
00:48:24.159 --> 00:48:27.280
jockey relied on record pickers to go to a room

457
00:48:27.400 --> 00:48:31.920
filled with milk crates full of seventy eight RPM discs.

458
00:48:32.519 --> 00:48:35.639
The crates were labeled to let the picker know what

459
00:48:35.920 --> 00:48:39.440
was in them. One crate might have contained Benny Goodman

460
00:48:39.519 --> 00:48:44.039
tunes while another had the latest top ten records. The

461
00:48:44.159 --> 00:48:47.239
picker would collect the records the disc jockey wanted to

462
00:48:47.360 --> 00:48:51.519
play during the program. If the radio show honored requests

463
00:48:51.599 --> 00:48:55.719
from listeners who sent telegrams to the station, the picker

464
00:48:55.719 --> 00:48:58.840
would have to hustle to the record room and quickly

465
00:48:58.960 --> 00:49:02.079
retrieve the selection. So I ran to the record room

466
00:49:02.159 --> 00:49:05.440
and picked this one for today's show. I chose not

467
00:49:05.559 --> 00:49:08.440
a record picker, but a paper picker. That's the title

468
00:49:08.519 --> 00:49:12.599
of this song, Paper Picker by Jan Sabbat and his orchestra,

469
00:49:12.760 --> 00:49:16.719
with a vocal by Bonbon, recorded on Decca Records in

470
00:49:16.760 --> 00:49:21.400
New York City on August twenty ninth, nineteen thirty nine. Enjoy,

471
00:50:10.320 --> 00:50:10.559
Let me.

472
00:50:10.519 --> 00:50:14.400
Bet the game lit Do Li do Do Do Do

473
00:50:14.480 --> 00:50:16.480
Do do do do do do?

474
00:50:17.280 --> 00:50:21.239
He keeps picking picking papers in the par as to

475
00:50:21.360 --> 00:50:23.440
keep it clean. Set the scene for lovers in the doll.

476
00:50:24.480 --> 00:50:27.840
He's a pop, you're a fellow. The kids call him pop.

477
00:50:28.360 --> 00:50:32.519
He gets a big hello from nursesander cops while he's picking, picking,

478
00:50:32.559 --> 00:50:33.119
picking pick.

479
00:50:33.000 --> 00:50:36.480
Of papers all day long. He sings cherry Berry be,

480
00:50:36.639 --> 00:50:37.639
his favorite song.

481
00:50:38.679 --> 00:50:41.599
Though his part gets so empty, he still makes this

482
00:50:41.760 --> 00:50:44.000
moll just picking back and picking back of papers.

483
00:50:44.079 --> 00:50:54.320
In the part DoD b b the bubble did bright

484
00:50:54.519 --> 00:50:55.800
but let today?

485
00:50:56.280 --> 00:50:59.400
But liter do that day?

486
00:50:59.760 --> 00:51:04.079
But did DoD Blie believe that bill?

487
00:51:04.360 --> 00:51:09.639
That his bar get so empty, hesef makes his ma

488
00:51:10.320 --> 00:51:12.280
just pick bick bick, big neighbors.

489
00:51:11.920 --> 00:51:12.360
In the bar.

490
00:52:14.119 --> 00:52:17.920
Thanks Lenny, excellent pick. Always like to hear from Jay

491
00:52:17.960 --> 00:52:21.719
and Savat and Lenny, we will hear from you again

492
00:52:21.960 --> 00:52:26.639
next week. At this point, let me take a look

493
00:52:26.679 --> 00:52:28.320
at the big bull of a clock here on the

494
00:52:28.400 --> 00:52:30.840
wall in front of me in the Crystal Studio to

495
00:52:30.960 --> 00:52:36.760
see how much time remains in this week's program. Time

496
00:52:36.920 --> 00:52:39.639
for one, possibly two more records.

497
00:52:48.719 --> 00:52:52.800
If you want to be foolish, act leg a clown,

498
00:52:53.800 --> 00:52:59.880
the eleven starf the Love a Town that you won,

499
00:53:02.079 --> 00:53:04.480
Why that's your little red wagon.

500
00:53:06.840 --> 00:53:08.960
That's your last wagon.

501
00:53:24.599 --> 00:53:25.760
If you wanna.

502
00:53:25.559 --> 00:53:29.119
Gold fishing, it's up to you boil.

503
00:53:29.320 --> 00:53:33.559
You can fish until the red sun turns blue. Cause

504
00:53:33.639 --> 00:53:44.880
it's your red wagon. It's your little red wagons, red wagon.

505
00:53:46.239 --> 00:53:46.639
Rolling.

506
00:53:51.119 --> 00:53:55.400
No, you wanna do me like you didn't mold. You

507
00:53:55.559 --> 00:53:59.519
wanna lead me around with a hook in my nose.

508
00:53:59.719 --> 00:54:06.400
But it's your red wagon. Why it's your little red wagon.

509
00:54:52.519 --> 00:54:55.559
Give me one of get met a boy and flo

510
00:54:56.079 --> 00:54:56.760
your time.

511
00:54:57.599 --> 00:55:03.840
There ain't nobody gonna make you stop. It's your red wagon.

512
00:55:05.960 --> 00:55:07.840
Why it's your little red.

513
00:55:07.800 --> 00:55:12.760
Wagon, your red wagon.

514
00:55:19.239 --> 00:55:23.760
Why don't you little red wagon and you keep rolling

515
00:55:23.920 --> 00:55:24.679
it long?

516
00:55:34.400 --> 00:55:37.599
We just heard on Decca records from nineteen forty Red

517
00:55:37.719 --> 00:55:42.760
Wagon Lou Holden and his Disciples of Rhythm with the

518
00:55:42.800 --> 00:55:46.960
Beautiful Vocal by Teddy Grace. I'm Gonna go out in

519
00:55:47.000 --> 00:55:51.119
a Moment with Broadway Rhythm by Richard Himber and his

520
00:55:51.320 --> 00:55:56.760
Ritz Carlton Orchestra with the vocal by Stewart Allen, recorded

521
00:55:56.960 --> 00:56:01.199
June the nineteenth, nineteen thirty five. Friends, I hope you

522
00:56:01.440 --> 00:56:05.559
enjoyed today's show. To reach me, I'm Jeff at Make

523
00:56:05.639 --> 00:56:10.320
Believe Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroom

524
00:56:10.440 --> 00:56:13.880
Radio dot com. Don't forget. You could also go to

525
00:56:14.079 --> 00:56:20.480
Make Believe Ballroom Podcast dot com make Believe baulroompodcast dot

526
00:56:20.599 --> 00:56:23.760
com and leave us an audio message. Just go on

527
00:56:23.920 --> 00:56:27.800
the website. In the bottom right hand corner of the homepage.

528
00:56:28.239 --> 00:56:30.679
You will see a little icon of a microphone. Just

529
00:56:30.920 --> 00:56:34.960
hit that and record away to your heart's content. So

530
00:56:35.320 --> 00:56:38.599
until next week, this has been Jeff Bresler.

531
00:57:29.519 --> 00:57:45.719
Oh that Broadway rho, Oh that Broadway ribble. When I

532
00:57:46.159 --> 00:57:51.639
hear O happy be we like I see all the

533
00:57:51.800 --> 00:57:53.199
streams to.

534
00:57:56.159 --> 00:58:00.400
That Broadway rhythm. Righting meding is a