Make Believe Ballroom - 5/24/24 Edition

WEBVTT

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

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are here to bring good cheer your
way. It's make Believe ball and time

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and free to everyone. It's no
time to friend your Dalis said bombs.

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Close your eyes and as you lie
in your solitude, your favorite bands are

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on this dance and mister Miller,
but you're in the wood. Its Make

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Believe Ballroom time. We are of
sweet romance as you make it. Come

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on, Joe, last dance lasts. Hi, folks, I'm Jeff Bresler,

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turning on the lights of the Make
Believe Ballroom and welcoming you into my

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

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

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

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Williams in the legendary Steve Allen alive. Whether you're one of my longtime listeners

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

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dance ticket. It's free and let's
listen to some great swing and jazz.

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Hello world, and thanks for joining
me on yet another edition of the Make

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Believe Ballroom broadcast on the legendary member
support of Jazz ninety point one in Rochester,

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New York, the one and only
the original make Fulie Ballroom broadcast in

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

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at WNEW Radio, New York City
back in nineteen thirty five. And why

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don't we get this dance party moving? So let's start with one that I'm

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sure I'm positive Martin Block played on
WWNYW Bank in nineteen thirty eight, swinging

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at sugar Bowl doing that coven Or
roll. They're having a session at the

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sugar Bowl. Haraldtine has got his
queen jumping like a jelly bean. They're

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romping and stopping that Coveno roll he
done Sundays or table slugging a shallows.

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All the old pop chains is doing
it too. Since sugar Bowl's gone swing

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over room, everyone has lost control
to win that coven A roll. Since

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Haralddine is swinging at the sugar Bowl. The ship sa on Decca Records that

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was Swinging at the sugar Bowl by
Bob Crosby and his orchestra, vocal by

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Napi La Mayer, arranged by the
Great Bob Haggard and recorded in Chicago on

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October nineteenth, nineteen thirty eight.
And although one would suspect that perhaps Swinging

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at the Sugar Bowl refers to the
annual College Football Classic in New Orleans that

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first kicked off in nineteen thirty five, well it really doesn't. There was

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a famous comic strip called Harold Teen
that ran from nineteen nineteen to nineteen fifty

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nine, and the song in actuality
refers to that comic strip due to the

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fact that Harold Teen, together with
his friends from Covina High, would frequent

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the Sugar Bowls soda shop owned by
Old Pop Jenks, which specialized in gee

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dunk Sundays. All of those facts
referred to in the song, but the

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bottom line is that everybody in the
band seemed to be having great fun playing

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that one Swinging at the Sugar Bowl
to get things started. Today on this

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edition of The Make Believe Ballroom,
here's one that I consider it to be

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underrated. Although you'll probably recognize the
tune Jatta jatda Jada Jada j Jada jatda

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jada Jada Jane sitting in Jada with
my face through the wall. A redheaded

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woman was the cause of it all. Jatda Jada Jada jab Jory. I

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said, Channa Channa, channel change
Janna Vala the bile changing ashes to ashes

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and does two does if you can
do it? My girlfriend was my name

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is channel changing. Chadda Chada chi
j Jing jing Jing, I said,

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YadA Chada, Chada Jado jing Jing. Gotta gal just six feet tall.

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This is what I'm hidn't a bit
and I'm feeding all Jada Jada jarjarg Ing,

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Jadda Jadda jing Dan. You just
listened to the Louis Prima version of

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Jada or Jada Jada Jing jing Jing, first recorded in nineteen eighteen by the

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original New Orleans Jazz Band, and
over the years recorded by scores of artists.

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In addition to Louis Prima, the
song was performed by the likes of

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Frank Sinatra, Louis Armstrong, who
was a great friend by the way of

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Louis Prima, Bobby Hackett, I
think Pee Wee Herman also recorded a version

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of Jada and so many more and
just as a final aside. Back in

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nineteen eighteen on the piano for the
original recording of the tune by the original

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New Orleans jazz band was the Old
Schnazanola himself, the Old Schnazzola, Jimmy

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Duranti. And now, ladies and
gentlemen, as I look at my run

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sheet, here it's time once again
for a random selection from our beloved Ralphie

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from Canarsi record club list. If
you're a regular listener, you know Ralphie's

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record club list. Back in nineteen
thirty five, Ralphie Carbone and his wife

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Rose started a record club in the
living room of their Canarsie, Brooklyn home,

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and the club ended up meeting every
other week right up to the mid

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nineteen seventies, and over all those
years, Ralphie and the gang compiled a

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long list of their favorite hits,
all ranked, and the list over the

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decades grew to over seven hundred songs. Now this list was given to us

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a number of years ago by Angelo
Carbone, Ralphie and Rose's son, who's

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now over ninety years old, and
God bless him, he still listens to

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the Make Believe Ballroom over our podcasts
from his home in Florida, and each

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week, I have the pleasure to
spin our virtual wheel here in the Crystal

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studio, where I've set up a
random number program on the computer. I

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hit the button and we see where
the virtual wheel lands. So why don't

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we take our first spin of the
day and the virtual wheel lands on on

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number for zero seven. Stand by
as I look that one up. This

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is great for zero seven is the
andrew Sisters version of Oh Johnny, Oh,

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Johnny, Johnny, how you can
Johnny Johnny, heave above? You

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make myself I jump with joy,
and when you're near, I just can't

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sit still a min me. I'm
so oh Johnny, Oh Johnny, Please

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tell me, dee what makes me
love you? So you're not handsome,

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mister, but when I look at
you, I just tho Johnny, Oh

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Johnny, Oh, how the girl
is crazy about a certain little lad.

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Although he's very very bad, he
could be also good when he wanted to.

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Had no good he understood, but
love another thing for every girl in

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town followed him around, just so
hold you pay, Oh Johnny, Johnny,

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how you can love Johnny? Oh, Johnny, Johnny heaven, But

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well bout you make my son odd
job with joy? And when you're near

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ride johns Cane, Sit still another
minute? Johnny Oh, Johnny Johnny,

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Please tell me, dear, what
makes me love you? So you're not

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handsome minutes to? But when I
look at you, I just thought,

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Johnny Johnny Johnny Mine, No,
no, Johnny O Johnny or Johnny O

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Johnny Johnny Johnny jug Johnny Johnny or
how di john jud judge Johnny Please tell

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me what makes me? What makes
me love your soul? If you're not

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handsome minutes to bot man, I
look at you, I just said,

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Johnny Oh, Johnny Oh, Johnny
Friends. That was number four oh seven

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on the Ralphie from Canarsi Record Club
list. The nineteen thirty nine version of

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Oh, Johnny Oh recorded by the
legendary Andrews Sisters, and that's a swingin'

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version of the tune, But it
was actually published way back in nineteen seventeen.

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It was composed by a gentleman named
Abe Olman and the lyrics were by

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a guy named Ed Rose. So, according to in August nineteen forty five

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United Press article, ed Rose wrote
that song when his friends mister and missus

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John Hanson of Akron, Ohio,
began dating while attending college in Indiana.

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They were so conspicuously in love that
Ed Rose, one of their classmates,

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he wrote the song about them and
presented them with the original manuscript. Oh,

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Johnny, Oh, and I think
we will have time for one more.

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Ralphie from Canarsi Record Club Random Spend
a little later on in the program,

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I'm Jeff Bresler, and you're listening
to this week's edition of the Make

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Believe Ballroom overmember support of Jazz ninety
point one in Rochester, New York,

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and via podcast. You could listen
to podcasts of recent programs by going to

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make Believe Ballroom Podcast dot com,
make Believe paulroompodcast dot com, or just

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fire up your favorite podcast provider.
You can reach me at Jeff at MakeBelieve

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Ballroomradio dot com. That's Jeff at
MakeBelieve Ballroomradio dot com. And if you'd

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like to join the Make Believe Ballroom
email list, you can also sign up

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for that at MakeBelieve Ballroom Podcast dot
com. That's MakeBelieve Ballroom Podcast dot com.

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A sign up a box will appear
on the homepage, and you can

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also leave audio requests on that page
of songs you would like to hear on

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the program. Let's see now as
I peruse the Crystal Studio playlist computer,

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who haven't we played in a while? So many songs, so little time?

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Hey, here's one back and bumps
and back put nassa, pass by

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and pass and badass, don't do? Andy Kirk in his twelve Clouds of

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Joy with Christopher Columbus, recorded on
Decca in New York City, March the

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seventh, nineteen thirty six. Now, along with providing Andy Kirk with one

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of his most popular recordings, the
song Christopher Columbus would also be adopted by

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the Benny Goodman Orchestra for inclusion in
their famous arrangement of Sing Singh Sing as

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we all know, most famously played
at the legendary nineteen thirty eight Carnegie Hall

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Concert. And now from the Crystal
Studio, as I look for another recording

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on the make Bully Ballroom, how
about a song that Benny Goodman actually performed

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at that very Carnegie Hall event.
Oh you take the high Room, I'll

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take the Long room. But I'll
be in Scotland. A fire for me

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not true? Loone they never meet
again. On the Bonnie Bonnie Banks of

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Long Loman by Young Bonnie Bank and
by young Bonnie Brays, where the zung

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iron spread on light Lormans, where
me and my true love forever want to

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games on the bonny Bonny banks,
no lot load. Now you take the

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high road and I'll take the low
road. I'll be in Scotland a fire

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for me and my true loan may
never meet again. On the bunny Bonny

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banks of light Loman Fall that we
parted in yon shady glands, dusty shine

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of ben Lorma wery f for you, the Highland he'll be view and the

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sign Covinn his loan. Now you
take Harold's commander for you. For me

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and my two loans may never meet
again on the bunny bank, on the

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bunny Bunny Bank, on the bonny
Bonny Bank of Longload lock Lomer on Victor

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Records. That was Lock Loan and
arranged by Claude Thornhill Benny Goodman and his

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orchestra vocal by Martha Tilton, recorded
in New York City, November twelfth,

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nineteen thirty seven. Goodman's treatment of
the nineteenth century Scottish song We Just Heard

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Loch Lohmand was recorded three months after
the famous Maxine Sullivan Claude Thornhill version and

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let's talk just for a brief moment. In terms of band's competing against one

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another during that era, Loch Lohman, no doubt was a big hit for

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Benny Goodman, and Tommy Dorsey took
very careful note after Benny Goodman managed to

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beat him to the punch in covering
Thornhill's update of Loch Lohmand a few months

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earlier, Dorsey wasn't going to take
any chances in letting any other Scottish classic

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get past him, so in early
nineteen thirty eight, Tommy Dorsey recorded this

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one maxwell Maxwelton's Bangs d Bonney,
where early all the du and that Lory

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gave me her love and promise true
gave me her promis to and then for

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God will be but for Boney Bonny
Anny Lorry, I lay me do Andy

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on Victor Records. That was Annie
Laurie, written by William Douglas and Lady

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John Scott, Tommy Dorsey and his
orchestra just like Lock Lowman Now when also

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arranged by Claude Thornhill and recorded in
New York City, February the third,

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nineteen thirty eight, so Claude Thornhill
had his hand in the arrangement of both

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Goodman's Loch Lomond and Tommy Dorsey's Annie
Laurie. But he Thornhill, of course,

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was also one of the most popular
banded leaders of the era. So

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let's play a piece by Claude Thornhill
and his orchestra, This one on Columbia

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Records. Where's My Little Dog Gone? Claude Thornhill, recorded in New York

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City October sixth, nineteen forty one. At everything of that hand, And

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so folks, one would think with
the name Claude Thornhill, perhaps he was

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a British musician, band leader and
arranger, But nothing further from the truth.

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Claude was actually born in Terre Haut, Indiana, and an interesting fact

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is a youth, Claude was recognized
as an extraordinarily talented musician on the piano,

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and he went on to form a
traveling duo with a guy named Danny

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Polo Polo, a musical protege on
the clarinet and trumpet haild from nearby Clinton,

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Indiana. They performed for a while
gained a good amount of popularity in

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the Midwest, and then they separated
moved on to pursue greater things in their

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individual careers. So why not listen
to one from Danny Polo. Danny played

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for many years here in the United
States, but also enjoyed going to Europe,

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where his band appeared in both Germany
and Great Britain. Here's one of

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those British recordings from nineteen thirty eight, Danny Polo and his Swing Stars Don't

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try your jive on Me Saturn shot
from a Bak s S Passion nothing any

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Don't try your jive on me Danny
Polo and his swing Stars here on the

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Make Believe Ballroom, heard each week
on Members Supported Jazz ninety point one w

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00:35:57.360 --> 00:36:01.800
g MCFM in Rochester, New York, as well as archived for the ages

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on MakeBelieve Ballroom podcast dot com.
Also heard on your Favorite podcast Provider,

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where via Sprecker, iHeart the Ballroom
ranked last week number seven in the music

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history category, and we deeply appreciate
that because that shows there are many people

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listening to the Make Believe Ballroom each
week. And this next tune, I'm

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Gonna Play was not ranked number seven, but number one back in nineteen forty

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one. Why are the stars,
always winking and thinking about. What makes

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a fellow start thinking a falling along? It's not the season, the reason

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as man as a moll, It's
just Elmerst. What makes a lady of

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blady go out on the loose?
Why does the gander meander in search of

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a goose? What? What's the
gig in a chicken? The magic in

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jur It's just Elmerst. Listen,
listen, there's a lot you're lied to,

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you be missing, singing, swinging
many way any a time. The

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hurdy gurdy is the birdie, the
couple of it, the candy maker,

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the baker, the man on the
street, the city charmer, the farmer,

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the man in the moon not sing
Almers do berty gurdy. The bertie

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is the cop on the bead,
baker and the man on the street,

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the city charmer, the farmer,
the man in a ah sing elmerst ah

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Sing, Elmer Elmer Elmer's tune by
Glenn Miller and his orchestra, vocal by

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Ray Eberly and the Modernaires. And
there's a very interesting story behind this song.

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Elmer Albrecht. Originally he composed the
tune back in the early nineteen twenties,

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and at that time he Elmer was
a student at the Worsham College of

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Embalming in Chicago, and he worked
at the Lewis Cone Funeral Parlor on Clark

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Street. Now, according to Albrick
himself, he originally worked out that tune

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Elmer's Tune on a piano This is
Amazing in the back room of the funeral

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parlor, which at the time he
was composing the song held the corpses of

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twelve men killed in Chicago's notorious Tongue
Wars. Over the years, Aulbrick,

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00:40:47.159 --> 00:40:52.679
who continued to work as an obomber, played the tune in honky tonks and

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00:40:52.760 --> 00:40:59.880
small nightclubs around Chicago. He offered
it to the band leader Ted Weims,

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00:41:00.079 --> 00:41:06.320
who turned it down. Then in
February of nineteen forty one, he approached

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00:41:06.840 --> 00:41:15.000
Dick Jurgens, whose band had a
residency at Chicago's famed Aragon Ballroom. Albreck

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00:41:15.159 --> 00:41:21.960
worked nearby and he had this arrangement
to use one of the pianos in the

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00:41:22.159 --> 00:41:29.960
Aragon Ballroom during his lunch break.
So Elmer made a nuisance of himself because

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00:41:30.360 --> 00:41:37.400
Jurgons and the band practiced around that
time. But Jurgons, who was inundated

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00:41:37.519 --> 00:41:46.440
with requests from various song promoters in
the Chicago area, wanted to get Albrecht

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00:41:46.800 --> 00:41:52.039
out of his hair, and he
finally agreed to arrange Allbrick's song for his

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00:41:52.400 --> 00:41:58.480
orchestra. So a short time later, Jurgons and his band were preparing to

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00:41:58.719 --> 00:42:01.960
perform the tune, which was still
nameless at the time, on the radio,

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00:42:04.119 --> 00:42:09.360
and after a frantic effort by the
radio announcer and two lyricists come up

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00:42:09.440 --> 00:42:15.360
with the title, Jurgons again got
fed up and he suggested, why don't

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00:42:15.360 --> 00:42:20.559
we just call it Elmer's tune?
And the name is stuck. Jurgons recorded

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00:42:20.599 --> 00:42:24.920
the song as an instrumental for Okay
Records on April tenth, nineteen forty one,

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00:42:25.599 --> 00:42:31.480
and that version reached number eight on
Billboard's Best Selling Retail Record chart in

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00:42:31.599 --> 00:42:39.880
October of nineteen forty one, but
never achieved the popularity of the Glenn Miller

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00:42:40.559 --> 00:42:45.960
version that we just heard. So, well, how can we talk about

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00:42:46.239 --> 00:42:52.599
Dick Jurgens in this story and not
play one of his records? Now here

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00:42:52.760 --> 00:43:44.639
on the make believe ballroom A World
War two diddy a morale booster as baby

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00:43:59.440 --> 00:44:06.440
I'm called on all you ablemen.
If you've got strength to lift up a

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00:44:06.519 --> 00:44:13.320
gun. All you recruits laced off
your boots. That's if you really can

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00:44:14.400 --> 00:44:22.119
stand right up and shout for Uncle
save Hip Hip hooray. We're living in

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00:44:22.239 --> 00:44:27.320
the USA. Come on, you
Yanks, all hollow things. Hip Hip

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00:44:27.440 --> 00:44:34.880
hooray, Hip Hip hooray. Ammericans
always say we like it here. Stand

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00:44:34.960 --> 00:44:39.039
up, ben Chier, Hip Hip
hooray. Every girl and boy can find

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00:44:39.159 --> 00:44:45.280
romance. Be the star Spanglskies.
There's lots of burn for everyone in our

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00:44:45.400 --> 00:44:51.960
land. Up paradise. Hip Hip
hooray. We're living in the US A

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00:44:52.800 --> 00:45:37.239
let's freedom ring, come on and
see hip Hip hooray, Hip Hip hooray.

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00:45:38.039 --> 00:45:44.280
We're living in the USA. Let
Freedom Ring come on and saying have

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00:45:44.519 --> 00:45:55.800
hip havel Hip havel hip havel hip
hip hep hep hooray. On Columbia Records,

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00:45:55.880 --> 00:46:00.599
Hip Hip Hooray by Dick Jurgens and
His Orchestra, vocal by Buddy Moreno,

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00:46:01.280 --> 00:46:07.119
recorded July the twenty eighth, nineteen
forty two. And as I look

237
00:46:07.199 --> 00:46:12.360
at the big bull of a clock
on the wall of the Make Believe Ballroom

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00:46:12.480 --> 00:46:17.320
Crystal Studio, I see that we
have time for an additional spin of the

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00:46:17.400 --> 00:46:23.760
virtual wheel to come up with another
random selection from the Ralphie from Canarsi Record

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00:46:23.840 --> 00:46:30.239
Club List. So why don't we, folks spin away and the virtual random

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00:46:30.360 --> 00:46:40.000
wheel lands on number number one ninety
four and let me look that one up

242
00:46:40.159 --> 00:46:46.519
on the playlist and maybe pull up
some notes. Number one ninety four dig

243
00:46:47.119 --> 00:46:53.000
a doo oh man from a live
Artie Shaw broadcast in November of nineteen thirty

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00:46:53.159 --> 00:46:57.960
nine. I made a nice random
spin. I love this one and haven't

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00:46:58.000 --> 00:47:34.880
heard it in a while. They
didn't do the doctor it did it didn't

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00:47:35.000 --> 00:49:40.000
don't don't no digga digga do Artie
Shaw, his clarinet and his orchestra with

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00:49:40.119 --> 00:49:46.000
the unmistakable Buddy Rich playing the drums. That was a triple a swing for

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00:49:46.159 --> 00:50:35.679
sure. So why don't we keep
the program going at that level? Don't

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00:50:36.039 --> 00:52:22.599
lady listen the mid Night in a
Madhouse Chick Web and his orchestra. Let's

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00:52:22.719 --> 00:55:05.119
keep this dance party spinning with another
swinger? Did the ny Thing on Decker

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00:55:05.239 --> 00:55:12.400
Records for Dancers Only, Written by
cy Oliver, Jimmy Lunsford and his orchestra,

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00:55:12.599 --> 00:55:15.960
recorded in New York City, June
the fifteenth, nineteen thirty seven.

253
00:55:16.920 --> 00:55:22.920
You know we just played Christopher Columbus
earlier by Andy Kirk, and I don't

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00:55:22.920 --> 00:55:30.000
know if it's my imagination or if
those two records for Dancers Only and Christopher

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00:55:30.079 --> 00:55:35.000
Columbus sound somewhat similar. I don't
know what you think. Maybe it's just

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00:55:35.280 --> 00:55:39.360
me, and that just me is
Jeff Bresler, and I'm sorry to say

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00:55:39.840 --> 00:55:44.400
that it's time to turn out the
lights of the Make Believe Ballroom for yet

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00:55:44.559 --> 00:55:49.639
another week. I can be reached
at Jeff at MakeBelieve Ballroom Radio dot com.

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00:55:49.840 --> 00:55:53.239
Jeff at MakeBelieve Ballroom Radio dot com
to get on the email list or

260
00:55:53.760 --> 00:56:00.360
leave a request, go to Make
Believe Ballroom Podcast and sign up there to

261
00:56:00.480 --> 00:56:05.239
hear past episodes of the show.
You could go to make Belie Ballroom podcast

262
00:56:05.360 --> 00:56:10.360
dot com or reference your favorite podcast
provider and friends. Until next week,

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00:56:10.480 --> 00:56:16.840
over listeners supported Jazz ninety point one
celebrating their fiftieth anniversary on the air.

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00:56:17.519 --> 00:57:47.719
This has been Jeff Bresler. Just
keep on dancing. Oh You've only a

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00:57:47.920 --> 00:57:53.320
small room. Make it your ball
room. Last Na