June 21, 2024
Make Believe Ballroom - 6/21/24 Edition
On this week's edition of the MAKE BELIEVE BALLROOM broadcast over member supported Jazz 90.1 WGMC-FM in Rochester, NY, and other fine affiliates across the US as well as in the United Kingdom – some old tunes from the 1920s that were given swinging...
On this week's edition of the MAKE BELIEVE BALLROOM broadcast over member supported Jazz 90.1 WGMC-FM in Rochester, NY, and other fine affiliates across the US as well as in the United Kingdom – some old tunes from the 1920s that were given swinging updates, a new band never heard on the Ballroom, another classic Sinatra story, a radio duo that made great music together- all this in addition to many more record gems from the big band era of the 1930s and 1940s
WEBVTT
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It's make Believe ballroom 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 by by yours.
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Close your eyes and visualize in your
solitude. Your favorite bands are on
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the stands and mister Miller, what
you're in the mood. It's make believe
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ballroom time. Be are of no
man as you make believe boll Come on
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to the last dance. Last.
Hi, folks, I'm Jeff Bresler,
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turning on the lights of the Make
Believe Ballroom and welcoming you into my crystal
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studio for another hour of the greatest
swing, jazz and big band hits of
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the nineteen thirties and nineteen forties.
I'm hosting the show to keep the music
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and traditions of past hosts Martin block
Al, Jarvis William B. Williams,
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and the legendary Steve Allen alive.
Whether one of my longtime listeners or maybe
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a new listener to the program,
I invite you to join me for some
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of the greatest jazz and swing hits
from the big band era. Hello world,
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and thanks for joining me on yet
another edition of the Make Believe Ballroom
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Broadcasting today on members supported Jazz ninety
point one WGMC in Rochester, New York,
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and on many many other fine affiliates
across the United States as well as
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in the UK. You may also
be joining me today via podcast, many
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00:02:09.840 --> 00:02:15.159
do. All of our programs are
archived and can be found through your favorite
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podcast platform. The one, the
only, the original Make Bulie Ballroom Broadcast,
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as I mentioned each week almost continuously
since Martin Block first took to the
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airwaves at w New Radio in New
York City back in nineteen thirty five.
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Enough talk from me now this day, said the data at Anything Frinks just
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heard the wonderful Bronx, new York
born jazz saxophonist clarinetist. I think he
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also played the trumpet. He was
a composer, ranger, and band leader
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One Bennett Lester Carter, better known
as Benny Carter, with a song entitled
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Sunday recorded in New York City on
October sixteenth, nineteen forty one. Now
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you, if you are like me, a huge old time radio fan,
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and I'm talking about radio from the
nineteen thirties, forties and early fifties,
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the early days of radio. You
might have said to yourself, that tune
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by Benny Carter sounds familiar. Well. It was written by Chester Cohn,
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Benny Krueger, Ned Miller, and
the great Broadway composer went on to be
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a great Broadway composer, Julie Stein. It was first recorded Sunday was by
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Abe Lyman and his orchestra in nineteen
twenty seven on Brunswick Records. The song
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served as one of two themed songs
for a popular radio comedy. That program
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starred two musical entertainers. I'll give
you the name of that show in just
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a little while. Sunday as I
mentioned, was first recorded in nineteen twenty
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seven and was played as We Heard
by Benny Carter as a contemporary big band
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version of the tune in the nineteen
forties. Another song that was written by
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Milton Ager with lyrics by Jack Yell, was also first recorded in nineteen twenty
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seven, but became a later big
band favorite. Mm hmm, Ain't she
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sweet? See her coming down the
street? Now? I'll ask you very
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confidentially, ain't she sweet? Ain't
she nice? Look over once on twice?
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Now ask you very confidentially, ain't
she nice? Just casting U in
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her diprection? Oh me, oh
my, ain't that perfation solitude? I
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read beetle the chaking out? Don't
you think she is neat and as you?
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And she's sweet? Yes? And
I in that direction, pop by
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and dig that job for two an
pops. That's perfection. Take it baby
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solid. I read that's a fun
thing down the street? Do you dig
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me? I mean confidently? And
she that was Ain't She Sweet? Recorded
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by Jimmy Lunzford back in nineteen thirty
nine, and also through the years recorded
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by literally hundreds of other artists,
the beloved tune Ain't She Sweet? And
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I think it's sweet that I have
the privilege of bringing you the Make Believe
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Ballroom from the Crystal Studio each week. I can be reached at Jeff at
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MakeBelieve Ballroom Radio dot com. That's
Jeff at Makebelly Ballroom Radio dot com.
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And I promised to you before Ain't
She Sweet, that I would reveal who
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used Sunday as their theme song on
an old radio program And the answer is,
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well, actually the show used Roseroom
as a second theme tune, but
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the primary tune of Sunday belonged to
Phil Harris and Alice Fay on their wonderful
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radio comedy aptly named the Phil Harris
and Alice Fay Show. That program ran
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on NBC from nineteen forty eight to
nineteen fifty four, and if you go
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onto YouTube or archive dot org you
could hear that full series of broadcasts,
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and the quality is outstanding and the
materi is very, very funny. Phil
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Harris, of course, was a
bandleader and singer, and he gained prominence
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and certainly a legion of fans when
he served as the band leader of the
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Jack Benny radio program. Alice Faye, Phil's wife, was in my mind,
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equally as popular as Phil, maybe
even more. She was an actress
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and singer, and Alice Fay just
might have been, probably was, because
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of the volume of her work,
the biggest musical star for twentieth century Fox,
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appearing in numerous films in the nineteen
thirties and nineteen forties. I think
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it's only fitting that I play a
little music tribute to the two. First,
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how about Phil Harris with one of
my favorite recordings of his, Won't
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You Come with Me? To Alabamy
Let's go see my dear oldmammy. She's
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frying eggs and brailing hammy. That's
what I like about the salt. Now
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there, you can make no mistake. Key where those nerves. I'm never
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shaky off. The taste of leg
cakey, That's what I like about the
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salt. She's got fake rips and
candy jams, no sugar cue and Virginia
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hams. Basements full of those berry
jams. And that's what I like about
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the salt. Hot corn bread and
black eyed teas. You can eat as
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much as you please, cause it's
never out of season. That's what I
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like about the South. Dad,
don't take one, have two. Their
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dark brown and chocolate two suits me. They must suit you, because that's
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what I like about sal. Gets
the way way down with the cane grows
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tall, down where they say you
all walk on in with that Southern drawl.
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Because that's what I like about the
salt. It's down where they have
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those pretty queens, keep a dreaming, those dreamy dreams. Let's sif that
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apps and the didn't do all heens, That's what I like about the salt.
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Yeah, here come old Bob with
all the news. Got the box
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back code and the button shoes.
But he's all caught up with his union
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dudes. And that's what I like
about the Salt. Here come old Roy
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down the street. Ho can't you
hear those couple of feet? He would
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rather sleep and eat? And then
then that's what I like about the South.
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Now, every time my passion doorh
you act like you don't want me
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tomorrow. Why don't you shake your
head and sign I'll go walking right on
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by? Gone on on and on
and on? Honey? What are you
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telling me that you love me?
Then? How come you close your eyes?
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Did I tell you about the place
called do I? Did he?
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It ain't no town and it ain't
no city. It's just awful small,
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that awful pretty will do, did
he? I didn't come here to criticize.
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I'm not here to sympathize. But
don't call me those no good lies
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with the lion gal? Do despise
you love me like I love you?
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Send me fifty BDq rosa red and
ballete pinkam O get old fifty. I
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don't think she's got backbones and butter
beans, ham hops and turn of greens.
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You and me and New Orleans And
that's what I Like about the zal
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That was Phil Harris's third recording of
his signature tune on RCA Victor. That's
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what I Like about the South,
Phil Harris and his orchestra, recorded December
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of nineteen forty six, now one
of Alice Fay's most beloved songs, You
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never know just how much I miss
you. You never know just hormut I
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can And if I tried, I
still couldn't hide my love. Boy.
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You ought to know for haven't I
told you so? Have miss your normal
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times? You went away and my
heart went with you. I speak your
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name in my replay. If there
is some other way to prove that I
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love you, I swear I don't
know how. You never know he is?
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You don't know I speak your name
in my repray. If there is
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some other way to prove the loved
I swear I don't know. Never know
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No No, A timeless tune but
written as a World War Two song,
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the Academy Award winning standard You'll Never
Know and Alice Faye introduced that song in
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the nineteen forty three musical film Hello
Frisco. Hello. Phil Harris and Alice
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Fay here today on the make Believe
Ballroom and also here today many name anything
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they think that anything then that they
can general. That was the legendary Lawrence
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Bud Freeman with his Summa cum Lauder
Orchestra and the Eel, recorded July the
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thirteenth, nineteen thirty nine. I
thank you, folks for the emails you
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send me each week to Jeff at
MakeBelieve Ballroom Radio dot com. Jeff at
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MakeBelieve Ballroomradio dot com. Many shows, I read a few emails other programs.
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Unfortunately, we just don't have the
time. Maybe we will have the
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time a little later to read some
fresh emails. But if you recall,
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last week I reviewed an email from
Lou Sinclair in Sarasota, Florida, who
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asked me to play some artists who
were never heard on this current version of
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the Make Believe Ballroom. I played
one last week by Gary Gordon and another
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by Charles Baum and his orchestra.
The Lou Sinclair letter came as a result
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of me playing a tune by the
Four Clefts, a group that we had
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also never played on this iteration of
the Ballroom. But why don't we play
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another one now? A song and
a band never heard until today? On
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the Make Believe Ballroom. She sat. That was Eddie Fitzpatrick and his orchestra
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with Big Chief Swing. It recorded
back in nineteen thirty seven. Eddie was
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a West Coast band leader who played
up and down the Golden State for a
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number of years. Big Chief Swing
we just heard and I Fitzpatrick played for
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the first time ever on the Make
Believe Ballroom and Friends. I must say
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excuse the scratchy quality of that record, and as a matter of fact,
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the number of the records we play
or remastered in crystal clear, others are
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a little scratchy. Some of the
songs we play are kind of forgotten and
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never had the opportunity to go through
the process of being remastered or digitally enhanced.
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Perhaps forgotten by time, but never
forgotten. Here on the one,
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the only, the original Make Believe
Ballroom heard each week on Members supported Jazz
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ninety point one in Rochester, New
York, and other fine affiliates across the
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US and across the Pond in the
UK, fine affiliates like KPOV eighty eight
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point nine FM and Bend Oregon.
Though wonderful KPOV, which broadcasts a really
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electic assortment of music and thought provoking
talk, a station I listened to quite
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frequently, and it's just great.
Now if you google a lot of these
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stations. They also stream their programming
live and encourage you, at one time
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or another to tune into KPOV eighty
eight point nine FM in Bend, Oregon.
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But now, friends, I ask
you to tune into this love they
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ing and then directing anything the rest. That was Johnny Hodges's Orchestra with Good
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Queen Bess, recorded on Bluebird Records
in nineteen forty. And now let's see
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what we're going to do. Well, why don't we play another one?
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Then an update on the whereabouts of
last week's honorary Crystal Studio record picker,
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my friend Norton. But how about, as I look at my playlist,
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how about a little fiddle from Joven
Udi Lom. You just had the pleasure
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of listening to the composed and performed
by Jove Nudi and his orchestra song Flop,
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recorded January the twenty fifth, nineteen
thirty nine, and certainly that record
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not a flop in the annals of
big band music history. So last week,
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if you were with us, Norton, the one and only member ever
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of the Make Believe Ballroom Studio audience
was given the title by me of honorary
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record picker. He chose a few
songs from albums of big band music that
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I played on the program. Now. Norton, as I mentioned, is
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a consultant of some kind, but
he frequently disappears for weeks and in some
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instances months, with no logical explanation
whatsoever. Well, he promised to be
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here in the Crystal Studio again this
week, but as a slippery as the
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eel in the Bud Freeman song I
played a little while ago, he has
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once again slithered away like an eel
destination unknown. But last week he picked
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a song from a Frank Sinatra album
that I didn't have the chance to play.
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Norton requested at the time that if
I played the song, would I
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tell a Frank Sinatra story that he
asked me about several weeks back. I
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told you the tale of my encounter
with Frank Sinatra in an event in the
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wild off Astoria Hotel in the nineteen
eighties. But a new even better Sinatra
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recollection after the song we did not
have the time or opportunity to play last
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week. Imagination it is funny.
It makes a cloudy day. Honey makes
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a bee think of honey just as
I think of you. Imagination is crazy.
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Your whole perspective gets hazy, starts
you asking a daisy, what to
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do? What to you? Have
you ever felt a general toss and then
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a kiss and then and then find
it's only your imagination again. Imagination is
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silly. You go around Willie Ni
for example, I go around what you,
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and yet I can't imagine that you
are me too. That was a
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Jimmy van Hughesen penned song, Imagination
by Tommy Dorsey and his orchestra, with
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a vocal by Frank Sinatra. Imagination
spent three weeks at number one on Your
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Hit Parade back in nineteen forty,
with both Dorsey Sinatra version and Glenn Miller
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also releasing a top ten best selling
version of that song Imagination. So I
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mentioned the story of Sinatra and an
encounter I had with him at the Waldorf
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Astoria Hotel back in the nineteen eighties. That at a large dinner that honored
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Walter Annenberg, the past ambassador to
Great Britain and the owner at the time
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of Triangle Publications that produced TV guide. I was a development executive for a
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large youth leadership organization at the time, and Sinatra handed me at that dinner
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a check for thirty thousand dollars and
all he said to me was this one's
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for the kids. Well, that
story showed Sinatra's philanthropic side. Now was
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sweet story of Sinatra's a loyalty and
a compassion for others. It was originally
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told by his wife, Barbara Sinatra. I read it here on the show
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a number of years ago, but
to here it is again in her own
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words. We were at a dinner
party one night with Bennett Surf and Lauren
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Bacall when Frank wandered into a guest
room to collect a pack of cigarettes from
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his overcoat. There he found the
producer Arthur Hornblow, finishing up a telephone
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call to a woman. I hope
she's pretty, Frank said softly. Arthur
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replied that she was, and it
was his mother, Susie, who was
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in poor health in Florida but still
excited about the latest Yankee scores. What
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I wouldn't give for one more telephone
call with my mom, Frank told him
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wistfully. At his suggestion, they
called author's mom back and put Frank on
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the line. Is this really Frank
Sinatra? She asked, you sound too
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much like him not to be.
I love your voice. Well, I
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love your voice too, Susie.
Frank said, tell you what, I'm
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gonna call you every Saturday night at
six o'clock and will chew over the Yankees'
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performance. Okay. He kept his
promise and never missed a Saturday evening call
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to Susie Hornblow until the day she
died. As an extra touch, he
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sent bouquets to her on Mother's Day
and to other widowed mothers in the same
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nursing home. Frank appended her name
to his catalog of solitary women he'd regularly
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check in on, which encompassed the
relative of Freeman Gosden's and several single mothers.
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Freeman Gosden, of course, was
one of the creators and the original
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voices on the radio version of Amos
and Andy. And that was friends of
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00:41:07.320 --> 00:41:13.760
story told many times by Barbara Sinatra. And also I think in a book
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she wrote about Frank, That's where
I got the copy from. And the
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story totally exemplified Frank's compassion for folks. And you know, you listen to
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Frank or watch Frank on like the
Tonight Show with Johnny Carson, and you
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know you'd always he was acted like
a tough guy, and you always worried
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about what he'd say next. But
the inner circle knew that Frank was both
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very philanthropic and compassionate towards other individuals. I'm Jeff Bresler, and you're listening
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to the original Make Believe Ballroom,
as I've been mentioning throughout the show on
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00:41:58.599 --> 00:42:02.320
Jazz ninety point one in Rochester,
New York and other fine affiliates like I
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00:42:02.440 --> 00:42:08.599
also earlier mentioned Kpov in Bend,
Oregon. And I am looking now as
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I do when time starts winding down
to the big Bullivar clock here on the
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wall of the Crystal Studio, and
I see we still fortunately have some time
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for music. Earlier in today's show, I played two songs with roots from
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the nineteen twenties, Sunday and Ain't
She Sweet, both written and recorded in
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00:42:30.800 --> 00:42:37.039
nineteen twenty seven, but certainly withstanding
the test of time to go on to
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become classic recordings by scores of artists. How about one more to complete a
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trifecta of tunes today from the nineteen
twenties that went on to become cherished over
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the decades. Oh ma, she's
making eyes at me. Well, look
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00:43:42.159 --> 00:43:47.960
at here, mama's boy. Oh
mom, she's making those eyes had me.
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00:43:49.760 --> 00:43:55.400
Oh mo, she's awfully nice to
me. And Ma, she's almost
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00:43:55.519 --> 00:44:02.239
breaking my heart. I'm designed so
myrsa little little con jumps guy the mom
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she wants to marry me and be
minding honeybee. Well, now every moment
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00:44:12.679 --> 00:44:16.440
she gets bolder. Now she's leaning
on my shoulder. Mo, Ma,
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00:44:16.719 --> 00:44:32.559
she's accusingly. Ah my, she's
almost breaking my her. Well, I'm
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00:44:32.559 --> 00:44:45.280
the silent now merle little concus guy
her Ma. Now, Ma, I'm
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00:44:45.320 --> 00:44:52.280
meeting with resistance. I shall holler
boris sister. Mama, Mama, she's
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00:44:52.400 --> 00:45:32.800
accusing me. Oh my, come
and get me. This gal has got
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00:45:32.840 --> 00:45:45.519
me crazy because she's making those sighs
and me. Oh mama, Ma,
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00:45:45.840 --> 00:45:51.440
he's making eyes at me. Alternatively
sung as Ma, She's making eyes at
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00:45:51.480 --> 00:45:54.920
me. Published back in nineteen twenty
one, The lyrics were by composer and
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00:45:54.920 --> 00:46:02.079
comedian Sidney Claire and the music was
by songwriter and producer Conrad Here. We
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00:46:02.239 --> 00:46:08.159
just played a swinging nineteen forties version
of the song performed by Kate Kaiser and
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00:46:08.159 --> 00:46:15.239
his orchestra with a vocal by Sully
Mason on Columbia Records. Ma She's making
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00:46:15.480 --> 00:46:22.159
eyes at Me Now. On the
make Blee Ballroom, Kenny Baker introduced this
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00:46:22.360 --> 00:46:28.320
Warren and Dubin hitting the Warner Brothers
comedy musical Mister Dodd takes the Air.
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00:46:29.159 --> 00:46:34.199
The song I'm About to Play reached
the number one spot on Your Hit Parade
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00:46:34.320 --> 00:46:40.599
with popular recordings released by both Teddy
Wilson and Bing Crosby. I Am going
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00:46:40.639 --> 00:46:47.079
to play the Teddy Wilson version of
Remember Me Teddy Wilson and his orchestra,
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00:46:47.360 --> 00:46:53.360
vocal by Boots Castle, recorded in
Los Angeles, California, on July the
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00:46:53.440 --> 00:48:08.519
thirtieth, nineteen thirty seven. Do
you remember one September afternoon I stood with
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00:48:08.599 --> 00:48:15.000
you and listened to a waiting tune, and didn't I go with you on
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00:48:15.159 --> 00:48:22.679
your honeymoon? Remember me? Do
you recall a cottage small upon a hill.
259
00:48:23.920 --> 00:48:29.119
We build it higher than you and
hide made Jack and Jill. And
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00:48:29.280 --> 00:48:38.079
if I'm not mistaken, dear,
I'm tunding still remember me? I can't
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00:48:38.119 --> 00:48:49.719
see that little angel on your key? Can you see? He kind of
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00:48:49.800 --> 00:48:54.920
sort of looks like me, all
harmed the wife joy life is loving you.
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00:48:57.159 --> 00:49:01.360
I worried you hurry home when days
through, and I'm the girl you
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00:49:01.480 --> 00:49:43.519
gave you. Good night kids too, remember me? Remember me? That
265
00:49:43.719 --> 00:49:49.000
was Teddy Wilson and his orchestra with
a vocal by Boots Castle. I have
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00:49:49.119 --> 00:49:52.159
time now to offer you one more
tune on today's show before we have to
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00:49:52.199 --> 00:49:57.239
say our goodbyes for another week.
And I caught this one just in the
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00:49:57.360 --> 00:50:01.880
nick of time because I received an
email request a few weeks ago from Florence
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00:50:01.920 --> 00:50:07.519
and Albert Lewine, who live in
Round Rock, Texas. Uh. They
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00:50:07.599 --> 00:50:14.440
requested the Andrew Sisters version of Sing
Sing Sing, which they felt never received
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00:50:14.440 --> 00:50:21.280
the plaudits it deserved from the Swinging
Sisters trio. Uh ge. I meant
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00:50:21.280 --> 00:50:23.639
to play it a few weeks ago, and I just forgot so flow an
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00:50:23.679 --> 00:50:51.960
awl just for you. Do sing
Sing Sing Sing everbodies not to sing Wow.
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00:50:52.000 --> 00:50:57.559
Now you're singing with us Swing Sing
Sing Sing Sing ev Bodies not to
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00:50:57.599 --> 00:51:04.239
sing Wow. Now you're singing with
a swing. When music goes around,
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00:51:04.519 --> 00:51:09.360
everybody goes to town. Somebody is
something you should know her baby or who
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00:51:09.760 --> 00:51:17.119
sing Sing Sing Sing Everybody start to
sing. Wooo. Now you're singing with
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00:51:17.320 --> 00:51:28.880
a swing swing swing swing swing.
Listen to the trumpet swings loud blood blaud
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00:51:29.000 --> 00:51:37.639
blah. Listen to the trumpets go. When the music goes around, every
280
00:51:37.840 --> 00:51:44.159
fire goes to town. But you
something you should know how they they hoover
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00:51:44.639 --> 00:51:52.079
sing sing sing sing. Everybody start
to sing. Wow. Who everybody go,
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little bird, do do do do
do do do do do do do
283
00:52:10.800 --> 00:52:22.079
do do do do do do do
do do do do Come on and sing
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00:52:22.360 --> 00:52:30.519
sing sing sing. Everybody start to
sing. Woo wow, nice singing weather
285
00:52:30.639 --> 00:52:37.119
swing swing swing swing swing. Everybody's
start to swing. Wo wow. Nice
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00:52:37.159 --> 00:52:43.800
swinging while you sing and the music
goes around on everybody got to town.
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00:52:44.159 --> 00:52:51.880
Just relax and take it slong,
sing sing sing sing. Everybody start to
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00:52:51.960 --> 00:53:02.960
sing, start singing, keep swinging. Now you singing where I swing and
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00:53:04.119 --> 00:53:07.880
folks. Unfortunately, that's it for
another week of hits from the thirties and
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00:53:07.159 --> 00:53:13.199
forties. Here from the Crystal studio
of the Make Believe Ballroom Friends. As
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00:53:13.239 --> 00:53:16.679
I've mentioned throughout the show, to
email me, it's Jeff at make Believe
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00:53:16.760 --> 00:53:23.519
Ballroomradio dot com. Jeff at MakeBelieve
Ballroomradio dot com and to hear past shows,
293
00:53:23.599 --> 00:53:30.119
go to Make Believe Ballroom podcast dot
com. That's MakeBelieve Ballroom podcast dot
294
00:53:30.239 --> 00:53:37.079
com, or visit your favorite podcast
platform like iHeart Apple or Spotify. We
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00:53:37.280 --> 00:53:44.760
talked about Jack Benny and Benny Carter
on today's show What About the Great Benny
296
00:53:44.840 --> 00:53:50.360
Goodman, And as I go out, we will play Goodman with a song
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00:53:50.679 --> 00:53:57.199
appropriately named wrapping it Up. So
until next week, This has been Jeff
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00:53:57.280 --> 00:57:06.079
Bresler at A three. This dit
least dance. You imagine our hall room.
299
00:57:06.800 --> 00:57:15.159
Here's you make me the ballroom last
dand raw mad at the tip of
300
00:57:15.280 --> 00:57:25.519
your fingers while the melody legers.
Let's dance dance dance just started swaying while
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00:57:25.559 --> 00:57:31.199
the band is playing music is worth
your while? Let this station give you
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00:57:31.360 --> 00:57:37.760
dancipation. Simply turn the die and
keep on dancing. Though you've only a
303
00:57:37.960 --> 00:59:08.119
small room. Make it your ballroom
last dance. Just keep on dancing though
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00:59:08.199 --> 00:59:15.639
you've only a small room. Make
it your ballroom less fas
1
00:00:15.439 --> 00:00:23.800
It's make Believe ballroom time. Put
all your cares away. All the bands
2
00:00:23.879 --> 00:00:32.399
are here to bring good cheer your
way. It's make Believe ballroom time and
3
00:00:32.679 --> 00:00:43.479
free to everyone. It's no time
to friend your dalis said by by yours.
4
00:00:43.600 --> 00:00:52.039
Close your eyes and visualize in your
solitude. Your favorite bands are on
5
00:00:52.159 --> 00:00:56.600
the stands and mister Miller, what
you're in the mood. It's make believe
6
00:00:56.799 --> 00:01:04.599
ballroom time. Be are of no
man as you make believe boll Come on
7
00:01:04.879 --> 00:01:11.400
to the last dance. Last.
Hi, folks, I'm Jeff Bresler,
8
00:01:11.519 --> 00:01:15.799
turning on the lights of the Make
Believe Ballroom and welcoming you into my crystal
9
00:01:15.879 --> 00:01:19.640
studio for another hour of the greatest
swing, jazz and big band hits of
10
00:01:19.640 --> 00:01:25.519
the nineteen thirties and nineteen forties.
I'm hosting the show to keep the music
11
00:01:25.599 --> 00:01:30.640
and traditions of past hosts Martin block
Al, Jarvis William B. Williams,
12
00:01:30.640 --> 00:01:36.400
and the legendary Steve Allen alive.
Whether one of my longtime listeners or maybe
13
00:01:36.400 --> 00:01:40.200
a new listener to the program,
I invite you to join me for some
14
00:01:40.280 --> 00:01:47.200
of the greatest jazz and swing hits
from the big band era. Hello world,
15
00:01:47.319 --> 00:01:51.400
and thanks for joining me on yet
another edition of the Make Believe Ballroom
16
00:01:51.480 --> 00:01:59.280
Broadcasting today on members supported Jazz ninety
point one WGMC in Rochester, New York,
17
00:01:59.760 --> 00:02:04.560
and on many many other fine affiliates
across the United States as well as
18
00:02:04.599 --> 00:02:09.719
in the UK. You may also
be joining me today via podcast, many
19
00:02:09.840 --> 00:02:15.159
do. All of our programs are
archived and can be found through your favorite
20
00:02:15.240 --> 00:02:23.479
podcast platform. The one, the
only, the original Make Bulie Ballroom Broadcast,
21
00:02:23.520 --> 00:02:28.280
as I mentioned each week almost continuously
since Martin Block first took to the
22
00:02:28.319 --> 00:02:35.080
airwaves at w New Radio in New
York City back in nineteen thirty five.
23
00:02:35.639 --> 00:05:20.879
Enough talk from me now this day, said the data at Anything Frinks just
24
00:05:20.920 --> 00:05:28.040
heard the wonderful Bronx, new York
born jazz saxophonist clarinetist. I think he
25
00:05:28.120 --> 00:05:31.240
also played the trumpet. He was
a composer, ranger, and band leader
26
00:05:31.800 --> 00:05:38.759
One Bennett Lester Carter, better known
as Benny Carter, with a song entitled
27
00:05:39.079 --> 00:05:45.959
Sunday recorded in New York City on
October sixteenth, nineteen forty one. Now
28
00:05:46.240 --> 00:05:49.439
you, if you are like me, a huge old time radio fan,
29
00:05:50.240 --> 00:05:55.800
and I'm talking about radio from the
nineteen thirties, forties and early fifties,
30
00:05:55.839 --> 00:06:00.759
the early days of radio. You
might have said to yourself, that tune
31
00:06:00.800 --> 00:06:05.399
by Benny Carter sounds familiar. Well. It was written by Chester Cohn,
32
00:06:06.040 --> 00:06:12.839
Benny Krueger, Ned Miller, and
the great Broadway composer went on to be
33
00:06:12.879 --> 00:06:18.160
a great Broadway composer, Julie Stein. It was first recorded Sunday was by
34
00:06:18.480 --> 00:06:26.240
Abe Lyman and his orchestra in nineteen
twenty seven on Brunswick Records. The song
35
00:06:26.399 --> 00:06:32.120
served as one of two themed songs
for a popular radio comedy. That program
36
00:06:32.240 --> 00:06:36.800
starred two musical entertainers. I'll give
you the name of that show in just
37
00:06:36.839 --> 00:06:43.279
a little while. Sunday as I
mentioned, was first recorded in nineteen twenty
38
00:06:43.319 --> 00:06:49.000
seven and was played as We Heard
by Benny Carter as a contemporary big band
39
00:06:49.240 --> 00:06:56.160
version of the tune in the nineteen
forties. Another song that was written by
40
00:06:56.560 --> 00:07:03.160
Milton Ager with lyrics by Jack Yell, was also first recorded in nineteen twenty
41
00:07:03.240 --> 00:08:18.240
seven, but became a later big
band favorite. Mm hmm, Ain't she
42
00:08:18.439 --> 00:08:26.199
sweet? See her coming down the
street? Now? I'll ask you very
43
00:08:26.439 --> 00:08:35.879
confidentially, ain't she sweet? Ain't
she nice? Look over once on twice?
44
00:08:37.000 --> 00:08:46.039
Now ask you very confidentially, ain't
she nice? Just casting U in
45
00:08:46.360 --> 00:08:56.639
her diprection? Oh me, oh
my, ain't that perfation solitude? I
46
00:08:56.840 --> 00:09:03.480
read beetle the chaking out? Don't
you think she is neat and as you?
47
00:09:07.159 --> 00:09:11.320
And she's sweet? Yes? And
I in that direction, pop by
48
00:09:11.399 --> 00:09:18.840
and dig that job for two an
pops. That's perfection. Take it baby
49
00:09:20.279 --> 00:09:28.200
solid. I read that's a fun
thing down the street? Do you dig
50
00:09:28.320 --> 00:09:37.000
me? I mean confidently? And
she that was Ain't She Sweet? Recorded
51
00:09:37.039 --> 00:09:43.840
by Jimmy Lunzford back in nineteen thirty
nine, and also through the years recorded
52
00:09:43.879 --> 00:09:52.519
by literally hundreds of other artists,
the beloved tune Ain't She Sweet? And
53
00:09:52.840 --> 00:09:56.039
I think it's sweet that I have
the privilege of bringing you the Make Believe
54
00:09:56.080 --> 00:10:01.080
Ballroom from the Crystal Studio each week. I can be reached at Jeff at
55
00:10:01.159 --> 00:10:05.759
MakeBelieve Ballroom Radio dot com. That's
Jeff at Makebelly Ballroom Radio dot com.
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00:10:07.279 --> 00:10:11.559
And I promised to you before Ain't
She Sweet, that I would reveal who
57
00:10:11.679 --> 00:10:18.960
used Sunday as their theme song on
an old radio program And the answer is,
58
00:10:20.039 --> 00:10:26.399
well, actually the show used Roseroom
as a second theme tune, but
59
00:10:26.600 --> 00:10:35.200
the primary tune of Sunday belonged to
Phil Harris and Alice Fay on their wonderful
60
00:10:35.639 --> 00:10:41.799
radio comedy aptly named the Phil Harris
and Alice Fay Show. That program ran
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00:10:41.840 --> 00:10:48.879
on NBC from nineteen forty eight to
nineteen fifty four, and if you go
62
00:10:48.000 --> 00:10:54.600
onto YouTube or archive dot org you
could hear that full series of broadcasts,
63
00:10:56.039 --> 00:11:03.000
and the quality is outstanding and the
materi is very, very funny. Phil
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00:11:03.039 --> 00:11:07.639
Harris, of course, was a
bandleader and singer, and he gained prominence
65
00:11:07.679 --> 00:11:13.399
and certainly a legion of fans when
he served as the band leader of the
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00:11:13.759 --> 00:11:20.240
Jack Benny radio program. Alice Faye, Phil's wife, was in my mind,
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00:11:20.480 --> 00:11:26.559
equally as popular as Phil, maybe
even more. She was an actress
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00:11:26.600 --> 00:11:33.360
and singer, and Alice Fay just
might have been, probably was, because
69
00:11:33.399 --> 00:11:39.679
of the volume of her work,
the biggest musical star for twentieth century Fox,
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00:11:39.720 --> 00:11:45.759
appearing in numerous films in the nineteen
thirties and nineteen forties. I think
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00:11:45.799 --> 00:11:48.919
it's only fitting that I play a
little music tribute to the two. First,
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00:11:50.000 --> 00:12:01.679
how about Phil Harris with one of
my favorite recordings of his, Won't
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00:12:01.679 --> 00:12:05.200
You Come with Me? To Alabamy
Let's go see my dear oldmammy. She's
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00:12:05.200 --> 00:12:09.480
frying eggs and brailing hammy. That's
what I like about the salt. Now
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00:12:09.600 --> 00:12:11.399
there, you can make no mistake. Key where those nerves. I'm never
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00:12:11.519 --> 00:12:15.639
shaky off. The taste of leg
cakey, That's what I like about the
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00:12:15.679 --> 00:12:18.480
salt. She's got fake rips and
candy jams, no sugar cue and Virginia
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00:12:18.519 --> 00:12:22.519
hams. Basements full of those berry
jams. And that's what I like about
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00:12:22.559 --> 00:12:24.559
the salt. Hot corn bread and
black eyed teas. You can eat as
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00:12:24.639 --> 00:12:28.080
much as you please, cause it's
never out of season. That's what I
81
00:12:28.159 --> 00:12:31.159
like about the South. Dad,
don't take one, have two. Their
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00:12:31.240 --> 00:12:35.720
dark brown and chocolate two suits me. They must suit you, because that's
83
00:12:35.759 --> 00:12:45.879
what I like about sal. Gets
the way way down with the cane grows
84
00:12:45.960 --> 00:12:48.279
tall, down where they say you
all walk on in with that Southern drawl.
85
00:12:48.320 --> 00:12:50.879
Because that's what I like about the
salt. It's down where they have
86
00:12:50.960 --> 00:12:54.120
those pretty queens, keep a dreaming, those dreamy dreams. Let's sif that
87
00:12:54.120 --> 00:12:56.919
apps and the didn't do all heens, That's what I like about the salt.
88
00:13:00.120 --> 00:13:07.200
Yeah, here come old Bob with
all the news. Got the box
89
00:13:07.240 --> 00:13:09.960
back code and the button shoes.
But he's all caught up with his union
90
00:13:09.039 --> 00:13:11.840
dudes. And that's what I like
about the Salt. Here come old Roy
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00:13:13.000 --> 00:13:15.919
down the street. Ho can't you
hear those couple of feet? He would
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00:13:16.080 --> 00:13:18.759
rather sleep and eat? And then
then that's what I like about the South.
93
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Now, every time my passion doorh
you act like you don't want me
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tomorrow. Why don't you shake your
head and sign I'll go walking right on
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by? Gone on on and on
and on? Honey? What are you
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telling me that you love me?
Then? How come you close your eyes?
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Did I tell you about the place
called do I? Did he?
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It ain't no town and it ain't
no city. It's just awful small,
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that awful pretty will do, did
he? I didn't come here to criticize.
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I'm not here to sympathize. But
don't call me those no good lies
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with the lion gal? Do despise
you love me like I love you?
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Send me fifty BDq rosa red and
ballete pinkam O get old fifty. I
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don't think she's got backbones and butter
beans, ham hops and turn of greens.
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You and me and New Orleans And
that's what I Like about the zal
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That was Phil Harris's third recording of
his signature tune on RCA Victor. That's
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what I Like about the South,
Phil Harris and his orchestra, recorded December
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of nineteen forty six, now one
of Alice Fay's most beloved songs, You
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never know just how much I miss
you. You never know just hormut I
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can And if I tried, I
still couldn't hide my love. Boy.
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You ought to know for haven't I
told you so? Have miss your normal
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times? You went away and my
heart went with you. I speak your
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name in my replay. If there
is some other way to prove that I
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love you, I swear I don't
know how. You never know he is?
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You don't know I speak your name
in my repray. If there is
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some other way to prove the loved
I swear I don't know. Never know
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No No, A timeless tune but
written as a World War Two song,
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the Academy Award winning standard You'll Never
Know and Alice Faye introduced that song in
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the nineteen forty three musical film Hello
Frisco. Hello. Phil Harris and Alice
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Fay here today on the make Believe
Ballroom and also here today many name anything
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they think that anything then that they
can general. That was the legendary Lawrence
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Bud Freeman with his Summa cum Lauder
Orchestra and the Eel, recorded July the
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thirteenth, nineteen thirty nine. I
thank you, folks for the emails you
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send me each week to Jeff at
MakeBelieve Ballroom Radio dot com. Jeff at
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00:20:53.400 --> 00:21:00.480
MakeBelieve Ballroomradio dot com. Many shows, I read a few emails other programs.
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Unfortunately, we just don't have the
time. Maybe we will have the
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time a little later to read some
fresh emails. But if you recall,
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last week I reviewed an email from
Lou Sinclair in Sarasota, Florida, who
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asked me to play some artists who
were never heard on this current version of
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the Make Believe Ballroom. I played
one last week by Gary Gordon and another
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by Charles Baum and his orchestra.
The Lou Sinclair letter came as a result
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of me playing a tune by the
Four Clefts, a group that we had
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also never played on this iteration of
the Ballroom. But why don't we play
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another one now? A song and
a band never heard until today? On
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the Make Believe Ballroom. She sat. That was Eddie Fitzpatrick and his orchestra
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with Big Chief Swing. It recorded
back in nineteen thirty seven. Eddie was
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a West Coast band leader who played
up and down the Golden State for a
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number of years. Big Chief Swing
we just heard and I Fitzpatrick played for
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00:25:03.160 --> 00:25:07.640
the first time ever on the Make
Believe Ballroom and Friends. I must say
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excuse the scratchy quality of that record, and as a matter of fact,
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the number of the records we play
or remastered in crystal clear, others are
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00:25:18.640 --> 00:25:25.680
a little scratchy. Some of the
songs we play are kind of forgotten and
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never had the opportunity to go through
the process of being remastered or digitally enhanced.
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Perhaps forgotten by time, but never
forgotten. Here on the one,
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00:25:37.920 --> 00:25:42.759
the only, the original Make Believe
Ballroom heard each week on Members supported Jazz
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00:25:42.880 --> 00:25:48.480
ninety point one in Rochester, New
York, and other fine affiliates across the
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00:25:48.640 --> 00:25:56.240
US and across the Pond in the
UK, fine affiliates like KPOV eighty eight
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00:25:56.279 --> 00:26:03.559
point nine FM and Bend Oregon.
Though wonderful KPOV, which broadcasts a really
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00:26:03.799 --> 00:26:11.160
electic assortment of music and thought provoking
talk, a station I listened to quite
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00:26:11.240 --> 00:26:15.119
frequently, and it's just great.
Now if you google a lot of these
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00:26:15.440 --> 00:26:22.079
stations. They also stream their programming
live and encourage you, at one time
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00:26:22.160 --> 00:26:29.279
or another to tune into KPOV eighty
eight point nine FM in Bend, Oregon.
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But now, friends, I ask
you to tune into this love they
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00:28:08.519 --> 00:29:33.440
ing and then directing anything the rest. That was Johnny Hodges's Orchestra with Good
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Queen Bess, recorded on Bluebird Records
in nineteen forty. And now let's see
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what we're going to do. Well, why don't we play another one?
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Then an update on the whereabouts of
last week's honorary Crystal Studio record picker,
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my friend Norton. But how about, as I look at my playlist,
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how about a little fiddle from Joven
Udi Lom. You just had the pleasure
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of listening to the composed and performed
by Jove Nudi and his orchestra song Flop,
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recorded January the twenty fifth, nineteen
thirty nine, and certainly that record
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not a flop in the annals of
big band music history. So last week,
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if you were with us, Norton, the one and only member ever
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of the Make Believe Ballroom Studio audience
was given the title by me of honorary
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record picker. He chose a few
songs from albums of big band music that
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I played on the program. Now. Norton, as I mentioned, is
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a consultant of some kind, but
he frequently disappears for weeks and in some
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instances months, with no logical explanation
whatsoever. Well, he promised to be
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here in the Crystal Studio again this
week, but as a slippery as the
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eel in the Bud Freeman song I
played a little while ago, he has
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once again slithered away like an eel
destination unknown. But last week he picked
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a song from a Frank Sinatra album
that I didn't have the chance to play.
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Norton requested at the time that if
I played the song, would I
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tell a Frank Sinatra story that he
asked me about several weeks back. I
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told you the tale of my encounter
with Frank Sinatra in an event in the
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wild off Astoria Hotel in the nineteen
eighties. But a new even better Sinatra
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recollection after the song we did not
have the time or opportunity to play last
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week. Imagination it is funny.
It makes a cloudy day. Honey makes
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00:36:12.719 --> 00:36:22.000
a bee think of honey just as
I think of you. Imagination is crazy.
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Your whole perspective gets hazy, starts
you asking a daisy, what to
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do? What to you? Have
you ever felt a general toss and then
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a kiss and then and then find
it's only your imagination again. Imagination is
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silly. You go around Willie Ni
for example, I go around what you,
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00:37:07.800 --> 00:37:46.800
and yet I can't imagine that you
are me too. That was a
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Jimmy van Hughesen penned song, Imagination
by Tommy Dorsey and his orchestra, with
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a vocal by Frank Sinatra. Imagination
spent three weeks at number one on Your
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Hit Parade back in nineteen forty,
with both Dorsey Sinatra version and Glenn Miller
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also releasing a top ten best selling
version of that song Imagination. So I
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mentioned the story of Sinatra and an
encounter I had with him at the Waldorf
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00:38:17.880 --> 00:38:23.800
Astoria Hotel back in the nineteen eighties. That at a large dinner that honored
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Walter Annenberg, the past ambassador to
Great Britain and the owner at the time
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00:38:30.679 --> 00:38:37.760
of Triangle Publications that produced TV guide. I was a development executive for a
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large youth leadership organization at the time, and Sinatra handed me at that dinner
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a check for thirty thousand dollars and
all he said to me was this one's
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for the kids. Well, that
story showed Sinatra's philanthropic side. Now was
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sweet story of Sinatra's a loyalty and
a compassion for others. It was originally
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told by his wife, Barbara Sinatra. I read it here on the show
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a number of years ago, but
to here it is again in her own
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words. We were at a dinner
party one night with Bennett Surf and Lauren
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Bacall when Frank wandered into a guest
room to collect a pack of cigarettes from
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his overcoat. There he found the
producer Arthur Hornblow, finishing up a telephone
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call to a woman. I hope
she's pretty, Frank said softly. Arthur
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replied that she was, and it
was his mother, Susie, who was
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00:39:45.400 --> 00:39:51.880
in poor health in Florida but still
excited about the latest Yankee scores. What
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00:39:52.079 --> 00:39:55.480
I wouldn't give for one more telephone
call with my mom, Frank told him
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00:39:55.519 --> 00:40:01.880
wistfully. At his suggestion, they
called author's mom back and put Frank on
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00:40:01.960 --> 00:40:07.840
the line. Is this really Frank
Sinatra? She asked, you sound too
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00:40:07.920 --> 00:40:12.360
much like him not to be.
I love your voice. Well, I
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00:40:12.480 --> 00:40:15.880
love your voice too, Susie.
Frank said, tell you what, I'm
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gonna call you every Saturday night at
six o'clock and will chew over the Yankees'
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00:40:22.119 --> 00:40:28.039
performance. Okay. He kept his
promise and never missed a Saturday evening call
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to Susie Hornblow until the day she
died. As an extra touch, he
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sent bouquets to her on Mother's Day
and to other widowed mothers in the same
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nursing home. Frank appended her name
to his catalog of solitary women he'd regularly
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check in on, which encompassed the
relative of Freeman Gosden's and several single mothers.
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Freeman Gosden, of course, was
one of the creators and the original
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00:40:59.840 --> 00:41:07.159
voices on the radio version of Amos
and Andy. And that was friends of
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00:41:07.320 --> 00:41:13.760
story told many times by Barbara Sinatra. And also I think in a book
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she wrote about Frank, That's where
I got the copy from. And the
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00:41:17.639 --> 00:41:28.039
story totally exemplified Frank's compassion for folks. And you know, you listen to
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Frank or watch Frank on like the
Tonight Show with Johnny Carson, and you
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00:41:35.199 --> 00:41:38.800
know you'd always he was acted like
a tough guy, and you always worried
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00:41:38.840 --> 00:41:45.159
about what he'd say next. But
the inner circle knew that Frank was both
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very philanthropic and compassionate towards other individuals. I'm Jeff Bresler, and you're listening
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to the original Make Believe Ballroom,
as I've been mentioning throughout the show on
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00:41:58.599 --> 00:42:02.320
Jazz ninety point one in Rochester,
New York and other fine affiliates like I
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also earlier mentioned Kpov in Bend,
Oregon. And I am looking now as
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00:42:08.639 --> 00:42:15.000
I do when time starts winding down
to the big Bullivar clock here on the
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wall of the Crystal Studio, and
I see we still fortunately have some time
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for music. Earlier in today's show, I played two songs with roots from
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the nineteen twenties, Sunday and Ain't
She Sweet, both written and recorded in
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00:42:30.800 --> 00:42:37.039
nineteen twenty seven, but certainly withstanding
the test of time to go on to
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become classic recordings by scores of artists. How about one more to complete a
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trifecta of tunes today from the nineteen
twenties that went on to become cherished over
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00:42:52.320 --> 00:43:42.119
the decades. Oh ma, she's
making eyes at me. Well, look
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00:43:42.159 --> 00:43:47.960
at here, mama's boy. Oh
mom, she's making those eyes had me.
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00:43:49.760 --> 00:43:55.400
Oh mo, she's awfully nice to
me. And Ma, she's almost
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00:43:55.519 --> 00:44:02.239
breaking my heart. I'm designed so
myrsa little little con jumps guy the mom
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00:44:04.199 --> 00:44:12.480
she wants to marry me and be
minding honeybee. Well, now every moment
239
00:44:12.679 --> 00:44:16.440
she gets bolder. Now she's leaning
on my shoulder. Mo, Ma,
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00:44:16.719 --> 00:44:32.559
she's accusingly. Ah my, she's
almost breaking my her. Well, I'm
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00:44:32.559 --> 00:44:45.280
the silent now merle little concus guy
her Ma. Now, Ma, I'm
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00:44:45.320 --> 00:44:52.280
meeting with resistance. I shall holler
boris sister. Mama, Mama, she's
243
00:44:52.400 --> 00:45:32.800
accusing me. Oh my, come
and get me. This gal has got
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00:45:32.840 --> 00:45:45.519
me crazy because she's making those sighs
and me. Oh mama, Ma,
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00:45:45.840 --> 00:45:51.440
he's making eyes at me. Alternatively
sung as Ma, She's making eyes at
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00:45:51.480 --> 00:45:54.920
me. Published back in nineteen twenty
one, The lyrics were by composer and
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00:45:54.920 --> 00:46:02.079
comedian Sidney Claire and the music was
by songwriter and producer Conrad Here. We
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00:46:02.239 --> 00:46:08.159
just played a swinging nineteen forties version
of the song performed by Kate Kaiser and
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00:46:08.159 --> 00:46:15.239
his orchestra with a vocal by Sully
Mason on Columbia Records. Ma She's making
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00:46:15.480 --> 00:46:22.159
eyes at Me Now. On the
make Blee Ballroom, Kenny Baker introduced this
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00:46:22.360 --> 00:46:28.320
Warren and Dubin hitting the Warner Brothers
comedy musical Mister Dodd takes the Air.
252
00:46:29.159 --> 00:46:34.199
The song I'm About to Play reached
the number one spot on Your Hit Parade
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00:46:34.320 --> 00:46:40.599
with popular recordings released by both Teddy
Wilson and Bing Crosby. I Am going
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00:46:40.639 --> 00:46:47.079
to play the Teddy Wilson version of
Remember Me Teddy Wilson and his orchestra,
255
00:46:47.360 --> 00:46:53.360
vocal by Boots Castle, recorded in
Los Angeles, California, on July the
256
00:46:53.440 --> 00:48:08.519
thirtieth, nineteen thirty seven. Do
you remember one September afternoon I stood with
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00:48:08.599 --> 00:48:15.000
you and listened to a waiting tune, and didn't I go with you on
258
00:48:15.159 --> 00:48:22.679
your honeymoon? Remember me? Do
you recall a cottage small upon a hill.
259
00:48:23.920 --> 00:48:29.119
We build it higher than you and
hide made Jack and Jill. And
260
00:48:29.280 --> 00:48:38.079
if I'm not mistaken, dear,
I'm tunding still remember me? I can't
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00:48:38.119 --> 00:48:49.719
see that little angel on your key? Can you see? He kind of
262
00:48:49.800 --> 00:48:54.920
sort of looks like me, all
harmed the wife joy life is loving you.
263
00:48:57.159 --> 00:49:01.360
I worried you hurry home when days
through, and I'm the girl you
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00:49:01.480 --> 00:49:43.519
gave you. Good night kids too, remember me? Remember me? That
265
00:49:43.719 --> 00:49:49.000
was Teddy Wilson and his orchestra with
a vocal by Boots Castle. I have
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00:49:49.119 --> 00:49:52.159
time now to offer you one more
tune on today's show before we have to
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00:49:52.199 --> 00:49:57.239
say our goodbyes for another week.
And I caught this one just in the
268
00:49:57.360 --> 00:50:01.880
nick of time because I received an
email request a few weeks ago from Florence
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00:50:01.920 --> 00:50:07.519
and Albert Lewine, who live in
Round Rock, Texas. Uh. They
270
00:50:07.599 --> 00:50:14.440
requested the Andrew Sisters version of Sing
Sing Sing, which they felt never received
271
00:50:14.440 --> 00:50:21.280
the plaudits it deserved from the Swinging
Sisters trio. Uh ge. I meant
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to play it a few weeks ago, and I just forgot so flow an
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awl just for you. Do sing
Sing Sing Sing everbodies not to sing Wow.
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Now you're singing with us Swing Sing
Sing Sing Sing ev Bodies not to
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sing Wow. Now you're singing with
a swing. When music goes around,
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00:51:04.519 --> 00:51:09.360
everybody goes to town. Somebody is
something you should know her baby or who
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00:51:09.760 --> 00:51:17.119
sing Sing Sing Sing Everybody start to
sing. Wooo. Now you're singing with
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00:51:17.320 --> 00:51:28.880
a swing swing swing swing swing.
Listen to the trumpet swings loud blood blaud
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00:51:29.000 --> 00:51:37.639
blah. Listen to the trumpets go. When the music goes around, every
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fire goes to town. But you
something you should know how they they hoover
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sing sing sing sing. Everybody start
to sing. Wow. Who everybody go,
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little bird, do do do do
do do do do do do do
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do do do do do do do
do do do do Come on and sing
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sing sing sing. Everybody start to
sing. Woo wow, nice singing weather
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swing swing swing swing swing. Everybody's
start to swing. Wo wow. Nice
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swinging while you sing and the music
goes around on everybody got to town.
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Just relax and take it slong,
sing sing sing sing. Everybody start to
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sing, start singing, keep swinging. Now you singing where I swing and
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folks. Unfortunately, that's it for
another week of hits from the thirties and
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forties. Here from the Crystal studio
of the Make Believe Ballroom Friends. As
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I've mentioned throughout the show, to
email me, it's Jeff at make Believe
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Ballroomradio dot com. Jeff at MakeBelieve
Ballroomradio dot com and to hear past shows,
293
00:53:23.599 --> 00:53:30.119
go to Make Believe Ballroom podcast dot
com. That's MakeBelieve Ballroom podcast dot
294
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com, or visit your favorite podcast
platform like iHeart Apple or Spotify. We
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talked about Jack Benny and Benny Carter
on today's show What About the Great Benny
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Goodman, And as I go out, we will play Goodman with a song
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appropriately named wrapping it Up. So
until next week, This has been Jeff
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Bresler at A three. This dit
least dance. You imagine our hall room.
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Here's you make me the ballroom last
dand raw mad at the tip of
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your fingers while the melody legers.
Let's dance dance dance just started swaying while
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the band is playing music is worth
your while? Let this station give you
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dancipation. Simply turn the die and
keep on dancing. Though you've only a
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small room. Make it your ballroom
last dance. Just keep on dancing though
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you've only a small room. Make
it your ballroom less fas