Make Believe Ballroom - 6/14/24 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 Ballroom time and

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

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your eyes and visualize in your solitude. Your favorite bands are on the dance

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and mister Miller, but you're in
the mood. It's make Believe Ballom time.

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We are a sweet romance as you
make believe bow. Come on,

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Jon last dast list. Hi folks, I'm Jeff Presler, turning on the

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lights of the Make Believe Ballroom and
welcoming you into my Crystal studio for yet

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another hour of the greatest swing,
jazz and big band hits of the nineteen

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thirties and nineteen forties. I'm hosting
the show to keep the music and traditions

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

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legendary Steve Allen alive. Whether you're
one of my longtime listeners or perhaps a

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new listener to the program, I
invite you to join me for some of

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the greatest jazz and swing hits from
the big band era. Hello World and

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thanks for joining me on another edition
of The Make Believe Ballroom, broadcasting today

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on Members Supported Jazz ninety point one
in Rochester and on other fine affiliates ross

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the United States and Great Britain.
All shows later archived into podcast form.

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The one the only original Make Believe
Ballroom broadcast almost continuously since Martin Block first

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took to the airwaves at WEEW Radio
and New York City back in nineteen thirty

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five. Let's spind a disc to
get things started than an email. Ea,

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friends, you just heard Gary Gordon
and his orchestra with the jarab top

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of Tillo, recorded in nineteen forty
one and heard here for the first time

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ever on the Make Believe Ballroom.
Gary, a bandleader who played the saxophone,

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had his own orchestra for the better
part of twenty years, operating out

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of New York City. And that
leads me to an email I received this

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past week from Lou Sinclair. Lou
one of our Sarasota, Florida listeners who

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enjoyed the music of the four Clefts
that I played last week. I never

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played the four Clefts on the Make
Believe Ballroom, and Lou asked if I

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could play more bands that never got
airtime on the Ballroom throughout the years I

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have been hosting it. So Lou
as always, your wish or any listener's

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wish is my command. And for
you, Lou, I just played Gary

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Gray and his orchestra, and now
one more never heard on this program.

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That was a really nice swinger from
New Jersey pianist Charles Baum and his orchestra

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with the Oh What You Said?
Recorded in nineteen forty. So Loosen Clair

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and listeners, I was happy to
bring you two more songs and artists who

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up until today were never heard on
this iteration of the make Belly Ballroom that

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I host, Like Loosen Clair,
if you have a song you want played,

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or a big band wish fulfilled,
I'm Jeff at MakeBelieve Ballroom Radio dot

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com. That's Jeff at MakeBelieve Ballroomradio
dot com. And after this record,

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I heard a wandering spirit who came
here to the Crystal studio earlier today.

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Rock Jack, get your babby,
look at my kids. Lean from my

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side, fetch me the Jean Son
Forten you head. Now, I can't

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get from this cabin. You ain't
going, Norwal, Norwal. Just set

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me here grabbing that applies round this
rocking chair. You remember that have it?

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How long haven't she been? Pappy? Send me sweet Chrriot for the

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end of the troubles. I've seen
you seen him, baby. I won't

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let rock check get you. Judgment
Dasher son Um chained change to my rocking

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Chair. That was rocking chair,
Recorded on May the twenty first, nineteen

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thirty. Now, this was an
all star musicians recording. But the funny

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thing is that if you purchased this
record back in nineteen thirty, you had

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no idea whatsoever that the musicians playing
were all stars. And well why is

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that? Because you see each musician
on the recording was handpicked by the songwriter

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and one of the vocalists on the
record, the Great Hogy, Carmichael Hogy,

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it is recorded in the Annals of
Music History, was a great talent

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scout and he knew how to put
a group together to play his music.

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So not by any means all stars
at nineteen thirty, but soon to become

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mega all stars. Hogy invited Bix
beider Beck, Eddie Lang, Jovin,

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Nudi, Tommy Dorsey, Benny Goodman, Bud Freeman, and Gene Krup at

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a play on that record. What
a predictor of great talent? Hogy Carmichaels

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historic recording of Rocking Chair, So
Friends. I said earlier that a wandering

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spirit came into the Chris studio.
Earlier today, a few hours ago,

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I heard a tap on the glass
portion of the door leading into the studio.

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Was not a knock, but a
tap, either via a coin or

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perhaps a key or some other metallic
object. That always annoyed me when people

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didn't just knock or ring the bell, but tapped with an object on your

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door to get your attention. And
that tap that I got a little while

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ago could mean only one thing,
and that was that our old friend Norton,

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not his last name like Ed Norton
from the Honeymooners, but his first

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name. Well, Norton is indeed
back in town, and he has officially

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been crowned over the years as the
only studio audience member of the Make Believe

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Ballroom. Now Norton, who is
a consultant, though he has never told

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anybody of what well. He has
a habit of disappearing for days or sometimes

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a year at a stretch, and
nobody knows why because he won't tell us,

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well, that's fine with me,
because I've pumped Norton enough times to

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try to figure out why he disappears. But Norton came into the studio and

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asked me if he could be the
Make Believe Ballroom a record picker for the

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day, and I told him yes, he can take the cover off the

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Audio Technica turntable and act on today's
program in that capacity. Now, what

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is a record picker and what will
Norton be doing in that role? I'm

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going to tell you in just a
moment, any all time you want me,

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I am yours for just the asking, Dolly, any all time you

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need me, I'll be there with
love that's lasting, dolling awfully is We'll

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stand together, sheving the tears and
stormy with her, and the sunshine will

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be yours and mine. Any all
time your blue You'll have Auto to chase

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away the blues, and any old
thing you do, I see you through.

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So just remember that I am waiting
if ever you want me. I've

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been there any old time, in
any place where you may be. That

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was Alreadie Shaw Billy Holliday and one
of six songs recorded at Artie's first ever

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Bluebird record Session in the summer of
nineteen thirty eight. His classic tracks begin

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to begin, Indian Love Call and
Back Bay Shuffle also emerged from that studio

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date. But we just heard any
old time artie shown his orchestra vocal by

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the great Billy Holliday, recorded in
New York City July the twenty fourth,

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nineteen thirty eight. So our wander
lust chum Norton asked if he could be

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a record picker for the day during
this edition of The Make Believe Ballroom.

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The Ballroom in the years of the
thirties, forties, fifties, and some

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time beyond that actually employed record pickers
to assist in the productive of the show.

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Obviously, the technology at the time
certainly didn't allow for automated playlists to

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be used like we do here currently
on the Ballroom. There was no tapes,

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CDs, or MP threes of the
like to play music, so someone

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an individual literally had to go to
a storage area to select records. The

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most famous record picker associated with the
Make Bley Ballroom had to be New York

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City TV and radio personality Joe Franklin, who hosted a show on TV on

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WR Channel nine and on WR radio
that lasted for decades. It was called

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Joe Franklin's Memory Lane. At sixteen
years old in the early nineteen forties,

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Joe Franklin was a record picker or
Martin Block on this very make Believe Ballroom,

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and if memory serves me correctly,
a Block I have read in the

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past referred to Franklin. I think
it was as the young wreck with the

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old records. So a record picker
was one who worked in radio, either

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selecting records at a DJ's request during
the program, or if they were really

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good, they had the opportunity to
select those records on their own. Radio

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stations had a record storage area or
record room where the discs were housed,

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usually in milk crates, first the
band's name, then alphabetically in that milk

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rate by the name of the tune, and the records would be shuttled from

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the storage area to the studio to
be played on a turntable. So I

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am, at his request, giving
Norton a latitude to select some of his

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favorite selections from albums in the Make
Believe Ballroom personal collection and then placing them

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on our Audio Technica turntable. Norton, why don't you get prepared to select

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two or three and we'll play them
during the show. And I am getting

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a thumbs up from Norton, who's
sitting in the now vacant record room that

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once was the home of our retired
producer Lenny from down the block. Now,

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Norton, just three things please.
One, don't scratch any of the

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albums on the turntable. Number two, please remove and replace them carefully in

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their covers. And three, Norton, I beg you please don't touch anything

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else in the record room that you
could possibly break or dissa because you have

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uh done that in the past.
So Norton, why don't you get ready

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with your first selection and I will
play now. One by Johnny Mesner and

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his Orchestra. Could be That yellow
Moon is just a big bullet and not

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that yellow moon. Love. Could
be that angel face is something out of

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the I'm not that angel face I
love. Could be This Heart of Mine

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is just a Valentine. I'm not
this heart of mine. Not all could

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be a dream I see. But
if you're asking, he could be I'm

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in love, could be could be
by Johnny Messner and his Orchestra. Vocal

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by Gene Darcy this song hit reached
number three on Your Hit Parade, and

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it provided the Messner band with one
of its most popular recordings. Now,

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if you were at a rehearsal session, for example, and wanted to get

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Johnny's attention during a break, you
could not yell out, Hey Messner.

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You see, in the Johnny Messner
orchestra, there was not one, but

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several Messners who would have answered to
that shout. Johnny Messner was the youngest

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of five brothers. An older brother, Dick Messner, was also a musician

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and bandleader, and all five brothers, five Messner brothers, performed together in

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Johnny's orchestra. Dick on the piano, Johnny he played the violin and clarinet,

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Charlie he handled woodwinds, Bill Messner
he banged the drums, and Fred

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who also played the violin. Johnny
Messner and his orchestra. And now I

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have heard nothing crash, break or
scratch. So I think Norton, our

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honorary record picker of the day,
might have his first selection already rotating on

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the turntable. And Norton, you
have used this turntable before, so I

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figure you now know what to do
with the arm of the machine by a

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country road, wild roses roads that
needs my special game. So I haven't

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time to be a million names and
the cheerful bro on the mountain side,

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I said, when I'm not there. No, I haven't to be a

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million names and a friendly gang of
Robin's are bet when I forget that,

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I'm in the second dinner and a
saxophone when So, with all the things

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I have to do, I'm very
much aware if I wished for well,

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it wouldn't be quite bad. Because
I have the time to be a million

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names. I haven't time to be
a millionaire. Nineteen forty recording by Glenn

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Miller and his Orchestra with a vocal
by Tex Bennike from the Make Believe Ballroom

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album collection. This one the complete
Glenn Miller and His Orchestra. I think

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I got this box at this multiple
record album of Miller's hits. They were

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all Bluebird Record hits. I think
I obtained this album back in the late

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eighties, perhaps the early nineties,
but nevertheless, a fine record picker job

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by Norton who I see is now, I'm very impressed, carefully placing the

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record back in its jacket and Norton. You did so well with that one,

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why not handpick another tune we complain
in just a little while from the

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Make Believe Ballroom album collection. And
now for your listening enjoyment. Since Norton

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did an admirable job choosing I haven't
time to be a millionaire, why not

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go to some modern technology, namely
my computer playlist? And I am looking

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and offered to you. Let's see
Glenn Miller back to back before they didn't

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know anything my The song I just
played was well in my mind an underrated

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song for Glenn and the Orchestra.
Caribbean Clipper released by Victor Records in nineteen

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forty two, and the title Caribbean
Clipper was a reference to the Pan American

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Airways Caribbean Clipper, which was one
of the first commercial airliners to fly regularly

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scheduled transatlantic roots. How many of
you remember old Pan am Airways Caribbean Clipper.

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I'm Jeff Bresler and you're listening to
the original Make Believe Ballroom over members

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reported Jazz ninety point one WGMCFM in
Rochester, New York, as well as

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other fine affiliates across the United States
and across the Pond in the United Kingdom

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00:36:13.800 --> 00:36:20.519
affiliates like jazz A t X,
kjs z X eighty nine point one in

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Austin, Texas. Of course,
the at X is the nickname of the

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city a as in Austin and TX
for Texas. I can be reached at

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Jeff at MakeBelieve Ballroom Radio dot com. Jeff at MakeBelieve Ballroom Radio dot com,

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and I will read an email in
just a moment, and to hear

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pass programs in the Make Believe Ballroom
series, go to Make Believe Ballroom Podcast

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dot com. That's Make Believe Ballroom
Podcast dot com. And I just got

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an email this one few weeks back
that I haven't had the opportunity to read

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on the air yet. It was
from Loretta Brell, who listens to our

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podcasts and spends part of her year
in swan Lake, New York, and

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the remaining section of the year in
Fort Lauderdale, Florida. I would assume

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she leaves swan Lake in the winter
and stays in Fort Laudadale and leaves Fort

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Lauderdale in the spring or summer,
going back upstate to the Catskills. Now,

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Loretta asked if I could bring back
the segment we used to do on

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first time ever recordings of songs.
Loretta, thank you. I have not

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done a segment like that and quite
some time, and I really appreciate you

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refreshing my memory about that. The
original Capitol Record recording of Everybody Loves Somebody

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some Time was not originally sung by
Dean Martin, but rather Peggy Lee.

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M Everybody loves somebody sometime. Everybody
falls in love somehow. Something in your

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kys just told me my sometime is
not. Everybody finds somebody some place.

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There's no telling. Wellove, it
may have been something in my heart.

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Keep safe my someplace is he If
I had it in my power, I

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don't range for every boy to have
your child, then every minute, every

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hour, every girl would find what
I found in your own. Everybody loves

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somebody sometime, And allthough my dream
was overdue, your love made it well

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wood waiting for someone like you.
Everybody loves somebody sometimes, and all though

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my dream was over you, your
love made it well world waiting someone like

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you. Someone. Everybody loves somebody
sometime. The first time ever that song

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was recorded Peggy Lee vocal with the
orchestra conducted by Dave Barber and recorded on

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November the twentieth, nineteen forty seven. And you might be saying to yourselves,

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well, how soon after Peggy Lee
did the one and only Dean Martin

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go into the studio to record it. As you probably know, the song

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eventually became his theme song. Well, two weeks after Peggy's version, not

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Dean Martin but his good friend Frank
Sinatra recorded it for Columbia Records. And

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interesting fact, it wasn't until nineteen
sixty four that Dean Martin made the song

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his own by recording it. Now
that song was written in part by Ken

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Lane. And if you were a
Dean Martin fan and watched his shows on

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TV or now currently even on YouTube, you could view many of the old

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Dean Martin programs. You may recall
that Lane weekly appeared as the pianist on

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that very Dean Martin show. Dean
used to always walk up to the piano

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during the program to talk to Ken
Lane and sing a song. I see

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now that Norton is back at the
turntable, which means, as today's honorary

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record picker, he has selected a
selection from one of the Make Believe Ballroom's

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big band era al albums. So
Norton, Maestro, if you please,

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is general it again? It is
General Might in his rad Thank you Norton

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for another fine selection. That was
the nineteen forty two k Kaiser Pushing Sand

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with vocal effects by Trudy Irwin and
Dorothy Dunn, recorded originally on Columbia and

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played here today on our Audio Technica
turntable by record picker Norton from the album

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America's Greatest Hits nineteen forty three,
Volume two, that being an album housed

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right here in the crystal studio of
the Make Believe Ballroom, and Norton choose

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one more. You are definitely two
for two as our record picker today,

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so feel free to go in and
pick another album and set up a tune.

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I'm looking at the big bull of
a clock on the wall and I'm

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not one hundred percent sure we will
have time today for a selection from the

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Ralfie from Canarsi a record club list, because I got the thinking about the

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string of hits Artie Shaw recorded at
the Bluebird record session he did in the

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summer of nineteen thirty eight. We
had played Alardy and Billie Holiday a little

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while back from that recording session.
So let me play one more of those

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records, then we'll see where the
time takes us on Bluebird Records, Back

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00:50:17.320 --> 00:50:22.800
Bay Shuffle by Artie Shaw and his
Orchestra, recorded in New York City,

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July the twenty fourth, nineteen thirty
eight, during Shaw's first ever recording session

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for Bluebird Records. And my friend, we do have time for a third

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record. Picking selection from you.
I must say, you've behaved yourself on

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00:50:44.440 --> 00:50:46.679
as they say, the other side
of the glass today, So let's keep

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that streak alive as well as your
two records streak of what I must say.

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We're home runs today. What do
you have for us this time?

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Tie IMBIDI out in Arizona where the
bad man are the only thing to guide

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00:51:14.079 --> 00:51:19.679
you is an evening star. The
roughest, toughest man by fire is ragtime

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00:51:19.840 --> 00:51:24.840
Cowboy. Joe got his name from
singing to the cows and sheep every night,

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00:51:24.920 --> 00:51:30.199
they say, sings the herd to
sleep in a horse so rich,

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00:51:30.320 --> 00:51:37.440
handy, hooding, salt and load. He always swinging music to the cadily

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as he swingers baccio in the saddle
on a horse, spring a horse with

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00:51:42.480 --> 00:51:45.639
Saint Pea games. Such a funny
meter to the roar of his repeater.

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How they run when they hear the
bowels gone? Because the Western folks on

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00:51:51.800 --> 00:51:57.159
load he high faloot school shoot son
of a gun from Arizona. Rag time

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cowboy, talk about your cowboy racked. I'm come by, Joe. We

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really it's that comes to the dairy. He keeps them all married to his

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horn to him, he always says. He always says music to the candle

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as he swings back before within the
saddle on a horse free and horse deadicated

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such a body meter to the lay
of business. How they run when the

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00:52:51.360 --> 00:52:57.719
here is gone for the Western folks
on. He's a halfloo shoot son of

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the gun from Arizona. Rag time
come about Chicabo, ragtime cowboy. Job.

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That was Ragtime Cowboy Joe by Paul
Whiteman's Four Modernaires with Paul Whiteman's swing

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00:53:24.159 --> 00:53:30.719
Wing on Deca Records, recorded in
nineteen forty and the version we played was

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00:53:30.760 --> 00:53:37.199
on the album Paul Whiteman's Fifty Years
of Hits, and that of course was

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the Modern Aires before they joined up
shortly after that with Glenn Miller. And

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now I'm looking at some records I
have stacked up over the last few weeks,

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00:53:49.119 --> 00:53:52.920
but did not have the time to
play. I think I mentioned Sam

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00:53:52.119 --> 00:53:58.320
Donahue a few weeks ago, but
I can't recall what the context was.

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Nevertheless, I was holding on to
this record that was Sam Donahue and his

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00:56:37.239 --> 00:56:45.760
orchestra with six mile Stretch recorded this
version recorded on Regal Records back in nineteen

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00:56:45.920 --> 00:56:52.760
forty five. And unfortunately, that
is it for another week of hits from

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00:56:52.800 --> 00:56:58.199
the nineteen thirties and nineteen forties here
on the Make Believe Ballroom. Norton,

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00:56:58.400 --> 00:57:02.960
thank you very much for joining me
today is an honorary record picker. You

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00:57:04.079 --> 00:57:08.239
did a great job and if you're
around next week we could certainly do it

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00:57:08.360 --> 00:57:15.400
again. Just please, I'm begging
you, Norton my friend, to knock

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00:57:15.599 --> 00:57:21.320
on the door, not tap on
the glass, because it quite frankly annoys

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me. Sincerely, though, thanks
pal, try to be here next week.

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Folks, as I've mentioned throughout the
show, to email me Jeff at

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00:57:30.239 --> 00:57:35.599
Make Believe Ballroom Radio dot com,
Jeff at Make Believe Ballroomradio dot com,

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00:57:36.239 --> 00:57:44.039
and to here past shows www dot
MakeBelieve Ballroom Podcast dot com. That's Make

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00:57:44.159 --> 00:57:51.159
Believe Ballroom Podcast dot com so until
next week. This has been Jeff Bresler.

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Oh women, let's have a body, and let's have a body.

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Let's off again. You bring the
women, You bring the women, and

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00:58:30.320 --> 00:58:36.199
I'll bring the gin. I'll bring
the Let's go for a ride. Ain't

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00:58:36.280 --> 00:58:42.039
going far. You fixed the blowout, and I'll drive the car. I

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d the on side Zus on Susday, on side Zus, Bama, meeting

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my Fama. Bummy, I can't
dann I God answer my part. I

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00:58:57.719 --> 01:00:19.760
can't. Then I got an thank
by ah. If I can't dance,

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01:00:20.920 --> 01:00:24.920
got answer in my pant. Oh
man, chick can dance. He's got

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01:00:25.039 --> 01:00:25.840
adds in his pant.