Make Believe Ballroom - 6/28/24 Edition

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

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believe ballroom time. Be are of
no man as you make believe. Bob,

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come on to the last dance.
Last. Hi, folks, I'm

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Jeff Pressler, turning on the lights
of the make Believe Ballroom and welcoming you

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

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

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

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

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longtime listeners or maybe new listener to
the program, I invite you to join

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me for some of the greatest jazz
and swing hits from the big band era.

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Hello world, and thanks for joining
me on this week's edition of The

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Make Believe Ballroom, broadcasting on members
supported Jazz ninety point one WGMC in Rochester,

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New York, and on many other
fine affiliates across the United States as

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well as in the United Kingdom.
And if you are a new radio affiliate

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to the program or first time listener
wondering what I do here, well it's

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quite simple. I take records,
some of them the original vintage recording and

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play them on our Audio Technica turntable. Some are virtual and they are played

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on our computer playlist, both with
the same outcome. Though of providing you

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with joyous music like this, my
heart gets a chill. I feel such

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a thrill, my feet won't keep
still when they swing that music. Rhythm

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like that puts me in a trend. You can't blame me from wanting to

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dance. From what I understand,
is simply grand to play a band when

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they swing that music. I'm so
happy asking me when they swing that music

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falls a swinging way to start this
week's edition of The Make Believe Ballroom.

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From the Decca Jazz series of albums, this album entitled Swing That Music,

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Louis Armstrong Volume two you heard Heart
Full of Rhythm, originally recorded in nineteen

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thirty six. And while we're on
the subject of swing, I was going

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to read this email later on in
the show, but probably more fitting for

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now, since we just got a
supersonic dose of mister Armstrong at his finest.

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Here is an email from Anthony Vernie. Mister Vernie has sent us many

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emails over the years, quite frankly
tediously long. This one happily brief.

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I'm only kidding. Anthony Vernie,
in many of his emails to us,

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says, quote unquote, this email
might be tediously long. Well, Anthony

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said in this brief email, Jeff, why do you think swing music of

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the big band era is still popular
today? Thanks Anthony, such a simple

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question with what I think as probably
many many answers. Well, why is

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swing still popular? I guess because
in my mind, it's happy, it

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rocks. It's about friends and family
and parties and memories and of course dancing

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and just playing. I guess,
all in a nutshell having fun. Thirties

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and forties swing and jazz was sort
of fusion, changing from old time jazz

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into something more modern, danceable,
and relatable. To the average person wanting

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to simply move to the music instead
of trying to understand it. There was

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nothing exceptionally deep about swing music or
jazz of the big band era. Deep,

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of course, though, in terms
of the magnificent compositions that were played

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back then, performed by musicians who
were not distracted by cell phones, computers

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and many of the things we have
in this modern age. If somebody started

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out being proficient on a musical instrument, that's all they did their whole life

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and their free time. They just
practiced and jammed. We also have to

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remember that in the mid nineteen thirties
many forget that a good chunk of the

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swing era was during the depression,
and that's when folks were looking to forget

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their troubles and listen to something that
made them forget the constant struggles to live

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from day to day back during that
time period. Not the most articulate answer,

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Anthony, off the top of my
head, but that's my sentiments.

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If you have a more articulate answer
than mine to the question, Anthony pose

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than his email, why do you
think swing music of the big band era

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is still popular today? Let me
know. I'd love to read some of

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your thoughts to our listeners. I'm
Jeff at Make Believe Ballroom Radio dot com.

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Jeff at make Believe Ballroom Radio dot
com. And oh yeah, another

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reason swing is still popular lady believe
you? Lady. Sorry, the seed

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didn't need anything. That was Fletcher
Henderson and his orchestra with rug Cutter's Swing,

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recorded September the twenty fifth, nineteen
thirty four. Glenn Miller also recorded

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the song a number of years later
when it gained renewed popularity. Now,

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I'm sure after hearing the title rug
Cutters Swing, you might be wondering and

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music and dance vernacular what the term
cutting a rug meant? Well, Professor

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Jeff, We'll give you the answer
momentarily, but first for our wonderful affiliate

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listeners in the United Kingdom. This
recording, friends, you just heard one

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is Adore Simon sid Phillips, the
British jazz clarinetist, band leader and arranger

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with one of his most popular hits, Boogeyman sid Phillips and his Melodeons.

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And I am wondering why as I
look across from me, Magic Mike has

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just brought a ladder into the record
room of the Crystal studio of the Make

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Believe Ballroom. You see a couple
of weeks ago when Norton don't call me

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Ed Norton, my first name is
Norton. My friend came into the Crystal

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studio and asked me to be the
honorary record picker for the day, and

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I specifically gave him on air instructions
to use the Audio Technica turntable but not

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to break anything. Well he did, and I had to call Magic Mike

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to come in and fix the turntable. So Mike in the house today working

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his electronic magic, hence his name
Magic Mike. During this next record,

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I'm going to ask Mike why he
needs a ladder to fix a turntable.

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It's beyond me. Well, now
with Magic Mike in the studio, I'm

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off track. I was going to
tell you what to cut a rug means,

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and I will I promise first SA
on Columbia calling You're Bluff by Mills

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Blue Rhythm Band conducted by Lucky Millinder
and recorded in New York City, November

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the twentieth, nineteen hundred and thirty
six, And as I promised a little

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while ago before I was distracted by
Magic Mike, I was going to tell

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you what the term in music and
dance to cut a rug means. Well.

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The term to cut a rug first
started to emerge as a slang term

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for dancing bank in the nineteen twenties. Use of that phrase cut a rug,

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although still familiar today, remained most
popular well into the nineteen forties.

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Some folks believe that the term might
have been used to describe dancers who moved

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so well and so regularly that they
would have worn out a carpet. Others

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have suggested that the term is related
to rugs in the sense of taking them

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up or moving them. When rent
parties, which we've discussed many times on

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the Make Believe Ballroom or spontaneous dance
parties arose, rugs and furniture had to

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be moved out of the way to
facilitate dancing. Rugs could also be moved

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in the long term to create a
dance space back then. It would have

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been common in the nineteen twenties when
prohibition caused many social clubs to go underground

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into private homes. While the rugs
might not have been literally cut, they

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could have been moved to safe keeping
to avoid damage from a number of people

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dancing on them. So a brief
explanation of the term to cut a rug

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here on this week's rug cutting dance
party of the Make Believe Ballroom. Now,

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the question before us, right at
this very moment, would be,

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would this song qualify as a rug
cutter? Wo? Demo, Demo,

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Demo, Come him Up, Demo, Mommo, Demo, Camo Got My

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Mob, Mo Dam Camo, Hamo, Demo, No My Mom, and

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I Keep you my Mom, Wowmo
demo, Never them up? What's that

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big? Oh? Indeed, that
one would qualify as a rug cutter,

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a rug cutter right down to the
final thread of fabric in the rug.

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On records, Get the Mop by
Henry red Allen and his Orchestra featuring the

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legendary J. C. Higginbotham on
the trombone with vocal by Henry red Allen,

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recorded in New York City, January
the fourteenth, nineteen forty six.

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I'm Jeff Bresler, and you're listening
to the one, the only, the

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original Make Believe Ballroom heard on the
radio almost continuously since nineteen thirty five.

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The Make Believe Ballroom broadcast weekly on
Jazz ninety point one WGMC in Rochester,

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New York, and many other fine
affiliates across the United States as well as

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in the United Kingdom. And you
know, folks, since we played Sid

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Phillips the British band Leader a little
while ago, why not acknowledge now two

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of our finest affiliates in the United
Kingdom. We are privileged to broadcast each

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week on Acacia Radio AM twelve eighty
seven in Nottingham, England and de via

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the Internet at Akasha Radio dot com. And also each week I am delighted

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to be a presenter on their fine
station, that is the Beloved. They

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play the greatest of the big band
swing and jazz hits of the twenties,

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thirties and forties, twenty four hours
a day, seven days a week,

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talking about the Internet based nineteen forties
UK Radio and you can hear their NonStop

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00:26:33.400 --> 00:26:45.000
big band programming at www Dot one
nine four zero Sukradio dot co dot UK.

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That's www. Nineteen forties UK Radio
dot co dot UK. And you

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can also hear past episodes of the
Make Believe Ballroom at www Dot make Believe

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Ballroom Radio Podcast dot com. Www
Dot make Believe Ballroom Radio Podcast dot com

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or enjoy past shows via your favorite
podcast provider, whether that be Apple,

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iHeartRadio, Spotify, We're on them
all and now friends for a segment I

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call the make Believe Ballroom plays raw, unenhanced records, just the real thing

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here in all of its somewhat scratchy
glory. Today Mattie Melnick and his Saint

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Louis Blues Orchestra with Saint Louis Blues
and thing that was Matty Malnick's version of

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Saint Louis Blues and for the uninitiated, Matty Malnick was an American jazz violinist,

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songwriter, and arranger and folks.
Mattie Malnick's greatest claim to fame actually

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came as a songwriter, most notably
for this very special tune. So you

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met someone who sent your bags on
your nails? Good good. So you

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met someone and now you know how
it feels good God. So you gave

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her y'all haunt you, just as
I gave mine to you, and you

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broke in a little pisons. Now, how do you do? Don't fly

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away to singing the blues all night? Don't you think that loves a bowl?

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Guy? Am I a rain?
All of nulia? You how to

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come and si to her to call
me and to hope you're satisfied you ran

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you and if you thought. Frankie
Lyman was the first to record this song,

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back in nineteen fifty seven. You
are wrong. This nineteen thirty six

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popular song was composed by Matty Malnik
with the lyrics by Johnny Mercer. Actually

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it was first recorded by Ted Wallace
and his Swing Kings. But here Goody

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Goody by Penny Goodman and his orchestra. The vocalist was Helen Ward Goody Goodye.

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Now I mentioned that the song was
originally recorded by Ted Wallace and his

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Swing Kings. Well Wallace Theodore ed
Kirkabe aka Ted Wallace was a band leader

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of vocalist band, an individual,
performer, manager and salesman. But he

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was best remembered as the longtime manager
of the legendary Fats Waller right up until

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Fats's death. I'm gonna sit right
down and write myself a letter was a

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nineteen thirty five popular song with music
by Fred Ahlert and lyrics by Joe Young.

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It has been, as you know, recorded many many times and has

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become a standard of the Great American
Songbook. It was popularized by Fats Waller,

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who recorded it back in nineteen thirty
five at the height of his fame,

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but it did not stop Ted Wallace
and his Swinkings from recording their own

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version. I'm gonna sit right down
and write myself a letter and may believe

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it came from you. I'm gonna
write words also, Steve. They're gonna

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knock me off, my fiend a
lot of kisses on the bottom. I'll

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be glad that I got home.
I'm gonna smile and say I hope you're

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feeling better and close with love away
that you do. I'm gonna sit right

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down and write myself a letter and
make me believe it came from your world.

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I'm gonna sit right down and write
myself letter Ted Wallace and his Swing

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Kings and speaking of letters, an
email in just a few moments now.

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One of my favorite big band band
leaders, trombone players and vocalists, the

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great Jack t Garden and meet me
where they played the blues. I got

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a heart that's broken hearted? How
do I'm ending? I gotta cry?

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And Jack you started? How do
I end it? But if you're feeling

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gloomy, come a run into me. Need me where they play the blue.

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People have said they've seen you dance
and hideaway blazing. People have said

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you find romance and other embracings.
But if your mood is dreaming and you

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care to see me, meet me
where they play the blues. Highs that

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flirt with a team, or come
on around you and misery lost company,

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they say, so they ling gertilong
while a trumpet wails on Open you happen

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this way? I'm getting tired of
sipping wine and watching it bubble? How

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did our dreams get out of line
and wind up in trouble? But honey,

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if you're learning, there's a flame
still burning? Meet me where they

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play the blues. We've got to
father, a mother, a mother.

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I'm getting tired of sipping wine and
watching it bubble? Why did our dreams

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get out of line and wind up
in trouble? But honey, if you're

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learning, there's a flame still burning, Meet me where they play. You

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find me any day? So meet
me where they play. Meet me where

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they play the blues. Jack t
Garden and Folks. That song was written

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by Sammy Gallup and the beloved comedian
intellect and songwriter Steve Allen. The same

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Steve Allen, who hosted The Tonight
Show and The Oh So Funny Steve Allen

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Show on TV, and who served
as a host of this very same original

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Make Believe Ballroom back in the late
nineteen eighties, and who Steve also starred

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on the silver screen as Benny Goodman
in The Benny Goodman Story. Steve Allen,

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and speaking of multifaceted performers of both
music and the big screen, in

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appropriate time, right now to read
an email I received this past week.

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It reads, thank you for devoting
time to Frank Sinatra on your program.

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I love the stories you tell about
Frank. As a young girl, I

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was a big Sinatra fan, and
why not. My parents played Sinatra,

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Dean Martin, and mel Tourmae on
the record player until the albums were totally

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worn out. I remember listening to
a DJ in the late fifties and sixties

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named Eddie Chase when I lived in
Southfield, Michigan. I think his show

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was also called The Make Believe Ballroom. He played many Sinatra records. My

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favorite Sinatra song was Chicago, even
though I lived in a suburb of Detroit.

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I learned about your show just a
few months ago when the music club.

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That's very interesting when the music club
in my condominium complex in Florida played

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one of your programs while we were
having lunch. Thanks, Joan Bennett.

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You know, there was a movie's
star named Joan Bennett who acted in films

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for many years. But I highly
doubt you're the same Joan Bennett, or

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you would have been around one hundred
and twenty years old. But all kidding

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aside, Joan, thank you very
much for that lovely email. And gee,

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that's great to know that in your
condo complex, the make Believe Ballroom

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was playing in the background during your
music club luncheon. That's very flattering.

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I mentioned a little while ago that
the song Goody Goody might have surprised some

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in that it was first recorded way
back in nineteen thirty six and not by

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Frankie Lyman in nineteen fifty seven.
Well, the same hole's true for your

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favorite Sinatra song, Joan, Chicago. The song was recorded on Capitol Records

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in that same year, nineteen fifty
seven, by Frank Sinatra with the Nelson

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Riddle Orchestra. It was on the
B side of a record that featured on

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the A side. The premiere side
one of Sinatra's most well known hits,

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All the Way But in Reality Chicago
is a popular song that was written by

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Fred Fisher and published way back in
nineteen twenty two. We rarely head back

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into the nineteen twenties here on the
Ballroom, but since Joan Bennett loves the

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Sinatra version of Chicago, I wanted
to go back to the historic origins of

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the song. Here performed and remastered
for your listening pleasure from Okay Records way

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way back in nineteen twenty two,
the Markls Orchestra with one of the earliest

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versions of Chicago. Sassiness expresses and
now, folks, it's time to check

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the big bull of a clock on
the wall here in the studio to see

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how much time we have left.
And I do that musical interload. When

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I was a kid, about half
past three, my mom said, daughter,

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come here to me. Says things
may come and things may go,

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But this is one thing you all
to know. Oh, take what you

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do with the way that you do
with, Take what you do with the

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way that you do with Take what
you do with the way that you do

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with That's what gets results. Take
what you do with the time that you

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do with. Take what you do
with the time that you do with.

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Wait what you do with the time
that you do with, that's what gets

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results. You can try hard,
hold me nothing, Take it easy,

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easy, then your dad will swing. Oh wit. Take what you do

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with the place that you do with. Take what you do it's the time

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that you do with. Take what
you do, it's the way that you

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do with that work gets results.
You've learned your A, B C,

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you've learned your D f G.
But this is something you don't learn in

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school. So get your hip boots
on and then you carry on. But

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remember, if you try too hard, it don't mean a thing. Take

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it easy. It's the way that
you're saying it. That's what Ella.

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That was a taint. What you
do, it's the way that should do

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it. Ella Fitzgerald from the time
she was leading the Chip Web Orchestra right

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after his death. Here on a
Decca Jazz album, Ella Fitzgerald The Early

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00:52:19.159 --> 00:52:23.880
Years, Part two, nineteen thirty
nine to nineteen forty one, the Great

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00:52:24.079 --> 00:52:29.760
Elep Fitzgerald and come to think of
it, Wow, while we're on the

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subject of albums, last week I
played a kay Kaiser version of Ma She's

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making eyes at me with a Sully
Mason vocal. Honestly, folks, it

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was not the original version, and
I kind of disappointed myself and you for

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not playing that one the original.
So I want to make amends to Kay

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Kaiser and the gang by bringing you
this record Any Bonds Today to day down

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the tall man with the high hand
and the whiskers on his cheese. We'll

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soon be knocking at your dog and
you alta be here. The caarm man

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with a high head, We'll be
coming down your way, So get your

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savings out when you hear him.
Shout any bards today, Any bonds today,

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Bonds of freedom. That's what I'm
selling. Any bombs today. Scrape

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up the most you can and here
comes a freedom. Then asking you to

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buy a share of freedom today.
Any stands today. We'll be blessed if

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we all invest in you. We
say, oh, here comes to freedom.

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Man can't make tomorrow's plans, not
unless you buy a share of freedom

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today. Any bonds today or any
day today, Any bond any an excellent

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World War two tune that encouraged the
sale of war bonds. As a matter

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of fact, on the Columbia label
for this record, it to actually States,

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written for the Secretary of the Treasury
by Irving Berlin. I think it

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was. I know Jimmy Dorsey and
the Andrews Sisters also recorded Irving Berlin's Patriotic

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Call to Action, but here we
had Kay Kaiser and his orchestra vocals by

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00:56:22.480 --> 00:56:28.800
Harry Babbitt, Jenny Simms, Jack
Martin and Max Williams recorded June the twenty

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first, nineteen forty one, that
song titled any Bonds Today? Folks?

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You know last week I played a
little Jovenuti on the violin, and how

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about today's Stefan Grippelli on the fiddle
along with Jango Reinhardt on the guitar with

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00:56:47.880 --> 00:56:55.079
Djangos Tiger recorded in France on Parlophone
Records back in nineteen forty six. But

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before that, it's also time to
say goodbye to you for another I hope

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00:57:00.480 --> 00:57:07.320
you enjoyed this week's edition of the
Make Believe Ballroom. As I mentioned throughout

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the program today, I could be
reached at Jeff at MakeBelieve Ballroom Radio dot

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com. That's Jeff at Make Believe
Ballroom Radio dot com, and you can

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00:57:15.280 --> 00:57:23.400
hear past shows at www dot MakeBelieve
Ballroom Podcast dot com, make Believe Ballroom

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00:57:23.679 --> 00:57:30.360
podcast dot com, and also via
your favorite podcast provider. Thanks to you

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00:57:30.639 --> 00:57:36.239
all and all of our fine affiliates
for allowing me to come into your home

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00:57:36.400 --> 00:57:40.599
or car, or wherever you listen
to radio or podcasts. So until next

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week, this has been Jeff Bressler, that break and ans