Make Believe Ballroom - 5/7/24 Edition

WEBVTT

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Time. It's make believe ballroom time. Put all your cares away. All

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the bands are here to bring good
cheer your way. It's make believe ballroom

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

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yours. Close your eyes and visual
lize in your solitude. Your favorite bands

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are on List Dance and Mister Miller. But you're in the mood. It's

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make believe ballroom time. We are
of sweet romance as you make it.

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Come on, Joe, Last Dance, Last, Hi, folks, I'm

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Jeff Presler, turning on the light
so the make believe ballroom and welcoming you

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

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

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

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

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

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grab your dance ticket. It's free
and let's listen to some swing in jazz.

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Hi folks, and thanks for joining
me on another edition of the Make

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Believe Ballroom, in one form or
another, broadcast almost continuously since Martin Block

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first took to the airwaves at WNEW
Radio in New York City back in nineteen

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thirty five. A lot of great
stuff planned on today's program. And if

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your idea of great stuff involves Benny
Goodman, you'll like this one. Can

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I can I thank? From the
Benny Goodman album the Complete RCA Victor Small

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Group Recordings, You just heard the
Benny Goodman Quartet with Moon Glow, probably

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the premiere quartet from the big band
era, featuring Benny himself on clarinet.

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You heard Teddy Wilson playing the piano, Gene Group of the drums, and

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Lionel Hampton the vibraphone. As many
of you know, there were a number

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of small group jazz bands in the
thirties and forties. Some were comprised of

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members of a larger band, like
the Benny Goodman Quartet and later on his

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sextet you had Let's see Tommy Dorsey
and his Clambake seven. Another great example

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of a small band within a big
band. The Kansas City six was classic

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and they were an offshoot from the
Count Basie Orchestra. Artie saw not to

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be left out of the parade,
had his Gramercy five. And speaking of

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fives, one of my favorites was
Louis Jordan and his Timpany five. So

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how about a little Louie and the
five with Doug. The jit Bug recorded

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back in nineteen thirty nine, dubbed
the Jitterbug. Just a silly love,

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young and wild, but lots of
style. Is dub the Jitterbug just a

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crazy mug drinks liquor by the juke. He's alive with lots of jive.

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Dubbed the Jitterbug. They threw him
out of school because all he learned was

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tiger ray. He never knew the
golden rule. But boy how he can

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shave the cuts a weaked rugs.
It ain't no shame. He's not the

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blame. He's dobe the He studied
to be a lawyer, but he never

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got a case. Every time they
look for that cat in court, he'd

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be do win the paddy waste.
It's gonna talk about it. Dub the

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Jitterbug cuts a wicked rug. It
ain't no shame. He's not to blame.

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He's Doug the Jitterbug. That was
Doug the Jitterbug, Lowie Jordan and

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his Timpany five. And I am
not Doug the Jitterbug, but Jeff Bresler.

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And this is the weekly edition of
the Make Belie Ballroom. I certainly

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love your emails. I could be
reached the Jeff at Make Belie Ballroom Radio

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

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go to our famous Ralphie from Canarsie
Record Club list in just a few moments

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to select our first random pick from
that storied list in just a few moments.

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But first, why don't we go
from jitterbugging to some boogie wuggy continudtttttttit

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contd on Decca Records from nineteen forty
four Hamp's Boogie Oogie Lionel Hampton and his

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Orchestra. And now let's spin for
a random selection from the Ralphie from Canarsi

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Record Club list of over seven hundred
ranked top tunes from the Big Band era.

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Ralphie and his wife Rose started a
record club for friends and neighbors back

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in nineteen thirty five in Canarsi,
Brooklyn and they had a lot of longevity.

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They met every other week through the
mid nineteen seventies and actually spent much

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of that time over forty years,
fine tuning their list of the top hits

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of the Big Band era, all
ranked. And let's hope we come up

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with a fine one today. I
will hit my computer randomizer program and it

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comes up with today number five five
six five five six, And that is

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Barrel House by Jess Stacey. Of
course, Jess best known as the great

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pianist for Benny Goodman and who can
forget his legendary piano solo during a sing,

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sing, sing, legendary Benny Goodman
Carnegie Hall concert from nineteen thirty eight.

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And I am biting for time here. I am actually having trouble finding

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this tune on the playlist. Stand
by, I won't disappoint you, As

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many of you know, I run
this show live with no editing, so

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just a temp rary glitch, and
I found it here here. It is

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Barrel House from the Gems of Jazz
album Volume two. That was just Stacey

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and Barrelhouse number five five sex on
the Ralphie's Record Club list and recorded back

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in nineteen hundred and thirty six.
And loyal listeners. While I am talking

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about albums, I just want to
take a moment to acknowledge our friends at

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Past Perfect and play a tune from
one of their remastered songs from the album

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I Got Rhythm, featuring selections from
the wonderful music duo of Django Reinhardt and

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Stefan Grippelli. They played what can
best be described as gypsy jazz in Europe,

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predominantly in and around Paris, France, just prior to the outbreak of

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World War Two. Reinhardt played the
guitar and Grippelli the violin. Listen to

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the title track of the Reinhardt Gripelli
remastered Past Perfect album I Got Rhythm,

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and the song, of course is
I've Got Rhythm. Then every thing that

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was Django Reinhart playing the guitar with
Stefan Gripelli on the violin and I've Got

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Rhythm from the Past Perfect album I
Got Rhythm Reinhart and Grippelli's best European jazz.

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Friends. If you're a regular listener
to the program, you know that

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a few years back, the nice
folks that Past Perfect allowed us here in

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the Crystal Studio to use many of
their digitally remastered songs to play on the

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Make Believe Ballroom. Past Perfect's unique
remastered albums make great vintage present or a

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treasured edition to your own vintage music
library. Go to past perfect and view

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their collection of many clear perfectly remastered
albums featuring music from the thirties and forties.

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You can neget CDs or more conveniently
download the albums of your choice.

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That's past perfect dot com, past
perfect dot com, and here now in

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front of me is an email I
received this past week from Tom Kaylish,

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who listens to the Ballroom in upstate
New York, and he told me in

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the email how much he loved the
set we played last week featuring the Great

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Sachemo Louis Armstrong from the nineteen fifty
eight Newport Jazz Festival. And because tom,

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my friend, you thanked us for
playing Louis, I return your serve

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so to speak with another Armstrong tune
for you all chocolate Trump. That's me,

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because my hair is clearly just,
because my teeth are really just,

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because I always well a smile like
the dress up in the ladies style.

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Because I'm glad I'm living. I
take troubles all with a smile just because

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my color shading different. Maybe that's
why they called me. Don't be bitter

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but ba but it be that's good. Oh my deda parents job begun old

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yoll it it doesn't run no noon, Oh I did it by oh oh

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better that mother confition an Okay Records
Shine by Louis Armstrong and his Bastion New

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Cotton Club Orchestra Vocal of Course by
Louis himself, recorded in Los Angeles,

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March the ninth, nineteen thirty one
and dedicated to Tom Kaylish in Upstate New

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York. If you have a song
you'd like to request, you could always

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reach me here in the Crystal Studio
twenty four to seven through the magic of

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email at Jeff at MakeBelieve Ballroom Radio
dot com. Jeff at MakeBelieve Ballroomradio dot

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com. Now, come to think
of it, one time when you might

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actually not be able to reach me
here in the Crystal studio of the Make

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Believe Ballroom is I'm not sure,
but probably sometime during the spring or summer

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I will be heading out to see
Vince Giordano and the Nighthawks, who are

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performing in the beautiful and intimate Birdland
Jazz club lower level, which is called

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the bird Land Theater. The Birdland
Jazz Club is located at three point fifteen

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West forty fourth Street in New York
and has been a New York institution since

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the Bird himself, Charlie Parker,
opened there back in nineteen forty nine.

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The club is, if I'm not
mistaken, it was, I mean,

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originally I think it was on West
fifty second Street, where all those great

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jazz clubs were in the forties,
but now on forty fourth Street and deemed

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by many to be the best jazz
club in New York City, which is

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no easy feat. The theater,
which I've been too many times in the

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lower level of the club has besides
great music, they have great food and

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drinks and a wonderful intimate, small
club atmosphere, even though it is called

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the Birdland Theater. Vince Giordano himself
has dedicated his musical career to keep the

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big band era alive and thriving and
vincent. The Nighthawks carry on that tradition

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with some great jazz music. There's
two shows a night at five thirty and

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eight thirty, and I encourage you
to hear Vince Giordano and the Nighthawks at

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the Birdland Theater three fourteen West forty
fourth Street in New York City. You

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can purchase tickets in advance online by
going to Birdlandjazz dot com Birdland Jazz dot

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com and let me know when you
might be going. Perhaps I can join

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you, And I promise, I
totally promise, I'll buy my own ticket

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and liquor, so nothing to worry
about there. And speaking of liquor,

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let's give you a taste. Here
is Vince Giordano and the Nighthawks. The

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ship now dances down to the season
to just shake that thing. Shake that

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thing gets tell shake that and no
trousers doing that thing like that gets shake

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that shame. That was Vince Giordano's
Nighthawks, Shake that Thing, recorded at

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the Birdland Jazz Club just a few
weeks ago towards the end of April,

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and once again he will be appearing
with the Nighthawks this spring and summer.

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That's Birdlandjazz dot com. And in
just a little while, a great story

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about a set of drums, but
now something a little different. Annie Taylor

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bought herself a trailer and headed for
the Golden State. She had confidence she

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could work for defense to help to
beat the sappy jappies would be great,

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and she parked her trailer near a
shipyard. She asked him for employment,

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so they made her climb a mask. A seagull landed on her head and

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she came down but fast. When
she towed her trailer to an airplant,

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she climbed into a plane and by
mistake, she turned the switch and she

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landed with her tail up in a
ditch. So she pulled her trailer to

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the navy yard. She met a
gob of gobzer who were guarding all the

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gates. They said, we'd love
to have you, but we can't have

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female mates. So she parked her
trailer near unarmed me camp. She walked

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up to the general and said,
private, you're so cute. Now she's

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got an imprint of the general's boot. Then she told her trailer to a

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round house. She got a job
as fireman, but she got up too

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much steam. The boiler blue and
out. She flew and bounced back on

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the beam, so she towed her
trailer down the highway. A traffic copper

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rested her because she took a drink, so they parked her little trailer in

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the twink. That was Trailer Annie, a song by Spike Jones and the

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City Slickers, who were tremendously popular
during the war years of the nineteen forties.

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Trailer Annie about a woman who tries
to find a job in the United

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States military. Spike Jones was a
bandleader and conductor, and he specialized in

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spoof arrangements of popular songs and classical
music. They all received the Jones treatment,

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which, as we heard in Trailer
Annie, featured all kinds of background

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sound effects. Once Spike was actually
a band member, I think it was

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with the Victor Young Orchestra, but
he got tired of playing the same music

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over and over night after night,
and on the side he was developing his

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own satirical style that was popular in
as I mentioned, the forties, and

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really many years after that, well
into the fifties, Spike was on television

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many times. Some of Spike Jones's
most popular tune, certainly the most popular

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was dear Fura's Face And now that
I'm thinking, come to think of it,

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do you remember all I want for
Christmas is my two front teeth?

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I think that was a Spike Jones
tune. Stand By for a quick google

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here, let's look hang on.
Yes, indeed it was recorded in nineteen

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forty eight, where it was a
number one hit Spike Jones and his City

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Slickers friends. I'm not slick,
but I am here every week from the

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Crystal Studio in New York to bring
you the Make Believe Ballroom, a continuation

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of the original started by Martin Block
in nineteen thirty five, the first radio

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personality to play records on the radio. Folks, I want to take a

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few moments to tell you a story
about a set of drums. Gene Krupa,

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as you know, was the legendary
drummer who rose to fame with the

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Benny Goodman Orchestra. Crouper was actually
the first star drummer, and he transformed

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the drums from merely timekeeping to a
prominent role as a solo instrument. Great

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drummers, including Buddy Rich and Max
Roach, would follow his lead, but

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Crooper certainly was the pioneer who gave
percussionists the chance to take center stage.

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Crouper was born in Chicago in nineteen
nine, and he began playing drums professionally

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in the mid nineteen twenties. He
was soon working with such great artists back

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then as band leader Eddie Condon and
Glenn Miller. Crooper played almost I Am

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Positive with the great corn neist Bick
Spiderbeck and saxophonist Coleman Hawkins. After he

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joined the Goodman Band in nineteen thirty
four, Crooper, with his drum playing

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and good looks, became a major
attraction as we played before he was a

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member of the Benny Goodman Quartet.
At the groundbreaking Benny Goodman Concert in Carnegie

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Hall on January sixteenth, nineteen thirty
eight, Crooper's sensational driving beat behind Sing

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Sing Sing, and his reprise of
the number in the movie Hollywood Hotel really

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defined him as the first model of
a modern drummer. But to Crooper's fame

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with Benny Goodman, many of you
might not realize this was also his downfall.

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You see, Crouper insists that on
having drums in the forefront of the

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band and Benny Goodman as the band
leader, obviously wanted the audience focus to

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be on him and his clarinet,
and with certain numbers, Gene stole Benny's

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thunder and in the end that actually
cost him his job with Benny Goodman.

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After leaving Benny Creuper formed his own
band and became a frequent performer on both

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radio and later on television. Now
around the time he left Goodman's orchestra in

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nineteen thirty eight, Krouper picked up
a new set of Slingerland drums at the

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fred Walker Instrument Company in Baltimore,
Maryland, and he left his old set

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of drums and blazoned with his initials
as well as those of Benny Goodman.

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He left them at the company,
fred Walker Instruments, and took the new

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set. In nineteen forty fred Walker
had a customer named Donald Hay who played

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drums with the local swing band,
and he played and then ultimately bought the

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set that Crooper had once used with
Benny Goodman. From nineteen forty four to

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forty six, Hay served in the
Navy, much of that time aboard a

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destroyer, the USS Wallace Lynde,
where he played drums with the ship's band.

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Now, after he got out of
the Navy, he kept the drums

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Krooper's drums in the basement and he
played along to big band programs on the

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radio. Leslie Schanella she was the
youngest daughter of Hay's three children, and

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she knew from her father the history
of the drums. Hey. After his

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discharge from the military, he purchased
an so gas station now known as Exon,

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and he worked very long hours,
so he played mostly in the basement

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of his home on occasion, once
again mostly to big band music on the

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radio. Hay died in September of
two thousand and nine at the age of

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eighty nine. Hospice worker Jennifer Betts, who had taken care of Don Hay

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was the daughter of Keeter Betts,
who was singer Ela Fitzgerald's bass player.

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Don hay and his daughter Leslie told
Jennifer the history of the drums, so

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after Hey passed away, Jennifer Betts
knew somebody at the Smithsonian, and Leslie

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and her siblings agreed to donate their
father's drums to the institution. If a

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dealer had bought them, Leslie had
said, they'd never know where they went,

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but at the Smithsonian they'd be seen
by a lot of people and certainly

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perpetuate the memory of Don hayes When
the curator from the SMITHSONI one of the

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curators, John Edward Hasse, learned
of the proposed gift, he drove to

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Cantonsville, Maryland to verify their authenticity, and the drums came up to be

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the right vintage and followed a description
that John Edward Hasse had read about the

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actual croup of drums used with Benny
Goodman, and he also looked at some

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old photos of the band. So
at the Smithsonian the group of drums joined

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the set used by Buddy Rich.
Since the two masters were very close friends

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and of course competitors for the unofficial
title of Crown Prince of Percussion. It

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was a fitting reunion from Gene Crouper
during his days with Benny Goodman to Don

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Hayes' basement in Maryland to the Smithsonian
Institute. What a wonderful and interesting take

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on the travels of this now priceless
artifact of the Big Band era and now

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friends of priceless record by the legendary
Gene CROUPA Hollo mean you brother Bill him.

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That was wire brush Stomp Jeane Krupa
and his Orchestra, recorded in New

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York City, June the second,
nineteen thirty eight. I really enjoyed a

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wire brush Stomp, one of my
favorites I am now I think in the

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Mood for One More by the Krupa
Orchestra and let me look at my playlist?

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00:47:14.840 --> 00:47:20.039
How about let Me off Uptown Jeane
Crouper and His Orchestra, vocal by

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00:47:20.239 --> 00:48:20.880
Anita Odey and Roy Eldridge. Hey
Joe, what do you mean? Joe?

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My name is Roy. Welcome here, Roy and get brewb me.

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You been uptown? No? I
ain't been uptown, but I've been around.

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00:48:28.880 --> 00:48:30.840
You mean to say you ain't been
uptown? No, I ain't been

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00:48:30.920 --> 00:48:37.400
uptown. What's uptown? It's pleasure
you're about And if you like stepping now,

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00:48:38.440 --> 00:48:43.599
Oh, you've got to shout it. Let me off up down?

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If them that you feel that it's
nothing to con see, Oh, you

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00:48:52.400 --> 00:49:05.280
got to speel it. Let me
off up read Joe gees du joins help

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Joy. Where could a fellow go
to top it? If you want to

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pitch a ball and you can't popford
a hall, Oh you got to call

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00:49:17.559 --> 00:49:27.679
it? Let me off uptown?
A need, oh, a need to

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00:49:28.599 --> 00:49:31.280
say? I feel? What's you
feel? Roy? The heat? No,

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00:49:31.400 --> 00:49:35.519
it must be that uptown rhythm.
I feel like blowing? Well,

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Blow Roy Blow. A swing era
classic from Jean Roy and Anita recorded on

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Okay Records in nineteen forty one,
and I think with that perhaps it's once

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

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00:50:58.760 --> 00:51:04.280
Crystal Studio in New York. I
really enjoyed bringing you today's selection of great

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00:51:04.400 --> 00:51:07.480
jazz and swing. It's from the
thirties and forties. I wanted to do

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a few more Ralfie from Canarsi Record
Club list selections, did not have the

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time, but I'll make up for
lost time next week. Don't forget to

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00:51:16.760 --> 00:51:22.039
email me at Jeff at MakeBelieve Ballroom
Radio dot com. Jeff at MakeBelieve Ballroom

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00:51:22.159 --> 00:51:25.480
Radio dot com. I love to
read your emails and play your requests.

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So until next week, this has
indeed been Jeff Bresler. Just keep on

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00:51:45.239 --> 00:51:51.639
dan Oh, you on ball Room, Make your ballroom