Make Believe Ballroom - 7/12/24 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 Bamba yours,

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close your eyes and vis you lie
in your solitude. Your favorite bands are

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

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Believe ballroom time. We are a
sweet romance as you make it. Come

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

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

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

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

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

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

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listeners or maybe a 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 today's broadcast of the Make

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Believe Ballroom, coming to you coast
to coast and across the pond on stations

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like members supported Jazz ninety point one
WGMC in Rochester, New York, and

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on many other fine affiliates across the
United States as well as in the United

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Kingdom. And it is now time
to get this record party underway. Handy

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something friends, we just enjoyed on
Bluebird Records, Scott Joplin's famous composition Maple

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Leaf Ragg played today on the Ballroom
by Ozzie Nelson and his orchestra, recorded

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in New York City, July the
eighteenth, nineteen thirty eight. Yes,

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indeed the same Ozzie Nelson who starred
with his vocalist wife Harriet and sons Dave

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and Ricky on one of the television's
classic situation comedy, The Adventures of Ozzie

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and Harriet. I said last week
that I was determined that on our next

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broadcast, I was going to read
some of the emails that have been piling

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up on the console here in the
Crystal studio, and the first of those

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emails, after this classic tune,
I'll be telling me if you can attack

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me, honey, he's better be
ready for having passy. Oh baby,

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don't you tab you sad? Then
when a fanned me, Remember when in

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their honey hem, I'm gonna have
and I got mind when he played the

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gutty Ball, I'm and I and
I'm that day, I'm a night a

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knock not at all on Melowtone records
at the Dark Town Strutter's Ball by Lewis

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Russell and his orchestra vocal by Sonny
Woods and recorded in New York City,

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August the eighth, nineteen thirty four. Folks, you might not have heard

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of Louis Russell, so Lewis came
to be best remembered for his long association

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with Louis Armstrong. Russell led the
band that supported Sanchmo from nineteen thirty five

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until nineteen forty three, but Lewis
in fact recorded some of the hottest sides

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of the pre Swing era under his
own name. Point in case, the

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Lewis Russell rendition of Darktown Strutter's Ball, And you know, come to think

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of it, you might not have
heard of Louis Russell. And you may

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also not have heard of the composer
of a Darktown Strutter's Ball, that being

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Shelton Brooks. Brooks was a Canadian
born American composer and performer. He was

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best known for his ragtime and vaudeville
style, and he wrote some of the

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biggest hits of the first third of
the twentieth century, including at the Darktown

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Strutter's Ball. He wrote that tune
back in nineteen sixteen, but six years

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prior he penned this equally famous song, did some mo bees Man, Man,

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you gotta be some of me,
some of me. Man, you're

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gonna want me this My mom,
Miss Mary is gonna be nanny many girls

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away you me love me for me
on me. You know maybe we went

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away. You don't know how when
you heard me grieving. You'll miss your

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nay mamal. Somebody name some of
These Days? Written by Shelton Brooks and

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performed in nineteen thirty by Cab Callaway
and his orchestra. And I must mention

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that the greatest rendition of the song
was the Sophie Tucker vocal of Some of

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These Days, And interestingly enough,
if I recall correctly, the song was

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brought to Sophie Tucker's attention in the
early nineteen hundreds. Well, it was

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written in nineteen ten, so around
that time was brought to her attention by

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her maid. Her maid personally new
Shelton and insisted she meet Brooks and hear

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the song, which went on to
become as many of us know, her

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signature tune. And speaking of signature, as I will read an email signed

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by one of our listeners in just
a second after I tell you that you're

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listening to the one, the only, the original Make Believe Ballroom broadcast almost

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continuously over the last close to ninety
years. I am Jeff Pressler, who

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for the last several years has had
the privilege of taking up the mantle of

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this historic program, assuring that the
music of the Big Band era is never,

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never forgotten. And now to the
email pile on the console, and

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the first email today is from our
longtime listener. This is great Freddie Lewis

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from Santa Rosa, California. Freddie, who I have not heard from in

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quite some time. Email the complaint
to me. Freddie said, Jeff,

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you played train songs on your program
last week and left out two of the

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most famous Miller's Chattanooga Chu Chuo and
Mercer's Atchison Topeka and the Santa fe a

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major faux pa. Well Freddy,
thank you indeed for the French lesson,

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And I did leave out those two
songs to for a couple of lesser known

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ones. I played Honky Tonk Train
by Bob Crosby and his orchestra. Then

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I played you know it was only
a week ago, but I forgot already.

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Then I played I played Louis Jordan
and his Timpany five with their recording

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of the Texas and Pacific, but
of Freddy to a soothe your angst,

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I will play the two you mentioned. Let's first ride the rails with this

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one by that taxs what you said. Step aside, partner, It's my

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day mending here and listen to my
version a really solid tennas sick excursion.

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Pardon me, boy? Is that
the Chattanooga ju Ju? Yes? Yes,

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why I the boy? You can
give me a Shane? Can you

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afford to bar Chad Nugach? I
got my fair and just to tackle to

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space. You leave the Pennsylvania station
about a quarter to four, read the

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magazine, and then you r in
Baltimore, dinner and the honor. No,

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I'm a good barn and then you
have you have an eggs in Carolina.

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When you hit the vessel bawl and
ain't to the barn, then you

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know that Tennessee is not very far
Sam all the calling God to keep it

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wrong. Boo, Chattanooga, there
you are. There's gonna be a certain

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party at the station. Certainly.
I used to call Bany. She's gonna

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cry until I tell her that I
have wrong. So canta uga Jujo?

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What did ju Ju home? Get
a ball? Juju? What did ju

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Ju home? J J? Chattanooga
Choo by Glenn Miller and his orchestra,

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vocals by Tex Bennicki and the four
Modernaires nine weeks at number one for the

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huge Glenn Miller hit from the movie
Sun Valley Serenade and also the first million

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selling recording to be officially recognized with
the awarding of a gold record. I

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do have to say, though,
gold record with an asterisk, and after

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Johnny Mercer, I will explain why
Chattanooga Choo Choo was and also was not

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a true gold record. Do you
hear that whistle down line? I figured

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that it's ads number fourty and she's
the only one little sound that way on

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the chi CenTra Peak and Santa fe
You see the old smoke rising round the

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bend. I reckon that you knows
she's going to meet a friend. Folks

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around these parts get the time of
day from the Atchison to Peak and the

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Santa Feith. Here's she come head, jim you better get the rigo.

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She's got a list of passengers that's
pretty big, and they'll all want lives

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to Brown's Hotel because lots of them
traveling for quite a spell all the way

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from Philadelphi on the Achisent to Peak
and Santa feel all chuy chubby, chubby

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chugger, chubby chubby, chubby chugger, ladder ripped, ladder rip, mister

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engineer, gotta gold gotta go far
her way from here, while the man

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at the fire shovels on the gold
stick. Your head out the cab watching

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drive and roll, see the towns
and the roads door whitt By fairly well,

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Lara man talbuquerkie high. Hey,
yes, the region, we are

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going all away? What's quit telling
California on the accident to beg a Santa

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fe on the absent to be Santa
here, Jimmy, Patty, get to

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read. She's got a list of
passengers. It's pretty big and hell all

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long lifts to Brown Hotel because lots
of them and traveling for quite a spell.

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Them down, down on the accident
and sad up on the Atchison,

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Topeka and Santa Fe also a number
one hit, much like Chattanooga Choo Choo.

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This song written by Johnny Mercer along
with Harry Warren, vocals by Mercer

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and the Pied Piper's Orchestra conducted by
Paul Weston. And that song Atchison,

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Topeka and Santa Fe was from the
movie The Harvey Girls and recorded by Capitol

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Records in nineteen forty five. So
Glenn Miller and his orchestra had the distinction

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of producing the first recording to be
awarded a Gold Record in nineteen forty two

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for Chattanooga Chu Chu, Only it
wasn't an official Recording Industry Association of America

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award. Let me explain the gold
record was was actually a publicity stunt from

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RCA victor who literally and this is
the total truth, they sprayed a master

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copy of the record with the gold
lacker. After the record sold a whopping

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one point two million copies, the
Recording Industry Association of America went on to

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borrow the idea and then ultimately trademark
what we now recognize today as Gold records

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based on the number of albums and
singles that are sold. So for Glenn

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Miller, I guess it was all
that glitters is certainly not gold. So

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thank you, my friend Freddie Lewis
from the Golden State for your email.

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I can be reached the same way
Freddie reached me at Jeff at make Believe

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Ballroomradio dot com. That's Jeff at
MakeBelieve Ballroom Radio dot com. And folks,

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while we're on the subject of Glenn
Miller and his recordings and stories,

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I will play this one and then
the story behind this title. Mansurvata sex

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five stock mans avatea sex five out
massivada sex five thouck he did not this

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long vision. That's maybe six five
ho. That was Pennsylvania six five thousand

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Glenn Miller and his orchestra, with
the song being inspired by the telephone number

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of New York City's Hotel Pennsylvania,
where Glenn Miller and certainly other big name

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bands performed in the hotel's Cafe Rouge. So, as the story goes,

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the hotel Pennsylvania claimed that Pennsylvania six
five thousand was the oldest continuously used telephone

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number in New York City. The
hotel. The Hotel Pennsylvania opened on January

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the twenty fifth, nineteen nineteen,
but the exact age of the telephone number

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and the veracity of the hotel's claim
are unknown. But for many years,

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callers too in its later stages two
one, two, seven, three,

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six five thousand were greeted with the
hotel's phone system recorded greeting that included a

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portion of the song. The Pennsylvania
Hotel was an iconic building that I viewed

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many many times over the course of
my life because it was located directly across

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the street from Madison Square Garden on
Seventh Avenue in Manhattan. Unfortunately, the

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hotel closed permanently in twenty and twenty
during the COVID nineteen pandemic. So it

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is unfortunate that with the closing of
the hotel the historic phone number might disappear,

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but all perhaps is not lost.
The developer of the property where the

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Hotel Pennsylvania was torn down, Stephen
Roth, set in twenty twenty two that

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a new building would retail the phone
number two one, two, seven,

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three, six, five thousand.
Although he didn't specify a few years back

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how the phone number would be reassigned. Let's hope that will happen, because

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the number does hold a significant place
in big band history, as does the

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Pennsylvania Hotel's Cafe Rouge, where Glenn
Miller and many others performed. Possibly the

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most infamous night in the Cafe Rouge
of the Hotel Pennsylvania took place on the

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evening of November the seventeenth, nineteen
thirty nine, when Alreadie saw mid show,

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walked off the stage and headed the
next day to Mexico, leaving his

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baffled band pretty much jobless. I'm
gonna give you some snippets of what actually

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transpired to Arty's sudden escape to Warmer
climbs. We had no inkling that a

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move was imminent, Trumper Bernie Prevan
reported. Before that memorable evening at New

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York's Hotel Pennsylvania, everything seemed essentially
normal to the men in the band.

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We were doing beautifully. I recall
a few nights before he made his decision

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to split, he got a request
from a lady in the Cafe Rouge where

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we were working to play a rumba. He was essentially short with her.

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Lady, He said, you're in
the wrong room. Then Artie suddenly left

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the stage about eleven PM. Tony
Pastor then took over the band. After

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Arty walked out, ARTI called us
up to his room in the Hotel Pennsylvania

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after the show and came directly to
the point. I've had it, he

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said. He asked us to vote
among ourselves about going on and about a

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new leader. Georgie Auld was elected. That told to us by a trumpeter

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in the Artie Shaw Orchestra, Bernie
Priven. Of course, Artie Shaw did

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return to reform his orchestra in play
for many years to come. Now,

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Artie Shaw broadcast from the Cafe Rouge
in the Hotel Pennsylvania on the radio,

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and the closest recording to Artie's November
seventeenth walkout that I could find was his

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October twenty first, nineteen thirty nine
broadcast. So why don't I give you

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the opening of that radio show to
give you a flavor of the taste of

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the broadcast. Then Artie Shaw and
his orchestra with a song titled traffic Jam.

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Well, we're making dance history.
Ladies and gentlemen know what that means.

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Why, of course you're listening to
a program and dance melody is played

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by the one an oldly Artie Shaw
party showing his arts to playing in the

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lovely Cafe room new room just opened
by the Hotel Pennsylvania and that hotel in

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New York City. The next number
is called traffic Jam, but I think

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it ought to be called well jitibug
jamb or shag jam, because they're doing

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an awful lot of dancing up here
in the in the Hotel Pennsylvania. I

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shown his oxtor playing traffic Jam,
a little high energy swinger from Artie Shaw

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and his Orchestra, broadcast less than
a month before lady walked off the stage

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at the Cafe Rouge in the Hotel
Pennsylvania. And speaking of Artie Shaw swinging

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with Buddy Rich on the drums with
traffic Jam from a radio remote broadcast,

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how about this one, also from
a show broadcast at the Cafe Rouge,

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And our heir comes the one you've
all been waiting for, the kilodella that's

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going to knock the place, probably
the roof right over. We hope not,

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because it's a long Way to the
Ground the Carrioka passive in the face

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as the s Carrie Oka Artie Shaw
and his orchestra with Buddy Rich playing the

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drums. And while I was playing
that song Carrie Oka, I was thinking

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about Buddy Rich and visit he made
to WNEW Radio in New York City,

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the same WNW that broadcast the Make
Believe Ballroom for close to fifty years of

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its existence. A certain night with
Buddy Rich came to mind. I'm going

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to tell you about that after I
tell you that. You're listening to the

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Make Believe Ballroom via member supported Jazz
ninety point one WGMC in Rochester, New

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York, as well as other fine
affiliates across the US and in the UK,

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including our latest community radio station to
join the network, that being Phantom

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Radio broadcasting in Birmingham, England.
I can be reached at Jeff at MakeBelieve

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Ballroom Radio dot com. That's Jeff
at MakeBelieve Ballroom Radio dot com. To

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hear many past shows in this series, please go to Make Believe Ballroom Podcast

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00:42:25.599 --> 00:42:32.639
dot com Make Believe Ballroom Podcast dot
com and you can hear prior broadcasts there

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at MakeBelieve Ballroom podcast dot Com or
just listen via your favorite podcast platform like

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Apple, Spotify, iHeartRadio. It's
totally your choice. And now my choice

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is Buddy Rich. There really any
I think about, not the s pepa

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at at whatever or that happens,
the SI's do you know anything? Lay

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the experience? Do you know any
day? At s from nineteen forty seven

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in a program on WNEW radio eleven
three to zero in New York called Saturday

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Night Swing. That was Fat's Navarro
on the trumpet, Bill Harris the trombone,

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Charlie Ventura and Alan Ager on the
tenor saxophones, Ralph Burns the piano,

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Al Valente guitar, Chubby Jackson bass, and of course the one the

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only, Buddy Rich drums with Sweet
Georgia Brown. So this week's edition of

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the Melee Ballroom is currently going haywire
because after the early part of the program,

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I have totally stayed on script in
any way, shape or form and

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have diverted. But that's okay,
I guess, because I'm having fun and

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I hope you are also, as
I have played some great music and I

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hope there is still more time to
come because we are at that time in

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the program to peer over to the
big bull of a clock on the wall

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here in the crystal studio, to
see exactly how much time we have left

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to regale you with some wonderful records. And while I see where we go

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from here, let me peruse the
playlist and try to find something that we

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haven't played in a while. You
know, I haven't played the Boswell Sisters

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in a very very long time,
So let's dust this one off. The

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obticon. My affection can change my
complexion from white to a roll? Is

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he? Anytime he holds my hands
he tells me that he's last. Eh,

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many boys who can kill me and
some who can chill me. But

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I'll just hang around and keep back
in my clowns until he says he's mine.

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Now, I'm not afraid that he
leave me. Well, he's not

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the kind who takes her dad.
But instead of trust him, he can

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go where he wants to go,
do what he wants to do. I

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show him care. Oh the obticule. My affection can change my complexion from

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white to a roll? Is he
read? Anytime he holds my hands and

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tells me that he's mine. You
have to come my affection. You change

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my complexion from white too old he
red anytime he was mine? Hay no

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Anti, that's mine all mine.
Yeah, many boys who've been drill me,

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some who can kill me, But
I'll jo just hang around, hanky

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back to my us. Jelly says, he's mine. Now, I'm not

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afraid he's gonna leave me because he's
not the kind of takeer there. But

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instead I trust him in blizzardly he
can go where he wants to go,

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do what he wants to do.
I show don't care. Oh do you

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have to come my affection? You
change my amplexion from whity two are olds

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he red anytime he was mine?
Hay no, Auntie, that's mine,

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all mine. That's mighty fine,
bozzies fine in fact for one more chorus.

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Okay, Jimmy, do you have
to come on perfection Jane my perflection

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the white two or rose he red
anytime he hold my man, he tells

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me that he mine. There many
boys you can tell me someone can kill

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00:54:16.920 --> 00:54:23.800
me with I'll else a rite and
keep back and Mike, I'm flying Jelly

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Addy mine Now why I'm not afraid
he's gonna I leave me? Not the

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kind who takes it down. But
instead I trust him imprisonly, and he

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can go where he wants to go, do what he wants to do.

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I show don't care. Oh do
you have to come on? Perfection Jeane,

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my Profection, the White t r
Rose he read. Anytime he hold

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my hands, he tells me that
he mine. Oh keep after all I've

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said my base dot turn and raise, don't start e. Then I got

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a reason. The Object of Station
recorded in nineteen thirty five with Jimmy Greer

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and his orchestra, The Boswells The
Object of My Affection written by Coy Poe,

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Jimmy Greer and Pinky Tomlin. So
after playing the boswell Sisters and looking

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at the bullivar'clock, I am sorry
to say, my friends, unfortunately it's

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now time to turn out the lights
of the Crystal Studio because this week's Make

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Believe Ballroom is coming to an end. I will be going out with Harry

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James and Backbeat Buggy. Recorded November
thirtieth, nineteen thirty nine, in Hollywood,

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And as I mentioned throughout the show, if you'd like to contact me,

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I'm Jeff at Make Believe Ballroom Radio
dot com. That's Jeff MakeBelieve Ballroom

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00:56:01.239 --> 00:56:06.920
Radio dot com and I'm so sorry
I didn't have the time to read some

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of the additional emails sitting on the
console here in the studio, but hopefully

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we could get to some more again
next week, like the one Freddie Lewis

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sent us to here. Past shows, folks, please go to www.

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Dot MakeBelieve Ballroom Podcast dot com at
wwwmblie Ballroom Podcast dot com, or of

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course you can visit your favorite podcast
provider. So until next week, this

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has been Jeff Bressler. Let thet
Boden