Make Believe Ballroom - 7/19/24 Edition

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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 visual lize in
your solitude. Your favorite bands are on

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list Dance and Mister Miller. But
you're in the mood. It's make believe

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ballroom time. We are of sweet
romances. You make it. Come on,

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Jim Last, Dass Last, Hi, folks, I'm Jeff Presler,

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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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in traditions of past hosts Martin block
Al, Jarvis William B. Williams,

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and the legendary Steve Allen alive.
Whether you're one of my longtime listeners or

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maybe a new listener to the program, I invite you to join me for

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

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World and Thanks for joining me on
today's broadcast of the Make Believe Ballroom,

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coming to you coast to coast and
across the pond on stations like members supported

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Jazz ninety point one WGMC in Rochester, New York, and on many other,

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many, many other fine affiliates across
the US and the United Kingdom.

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Let's start off today's program with this
swinging platter dig Us then be hidden lenn

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that was on Columbia Records, Apple
Honey by Woody Herman and his orchestra,

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recorded February the twenty sixth, nineteen
forty five. And let me look at

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my schedule here to see what's next. Oh yes, now, I think

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a lot of you enjoy the segments
that we have periodically on this program where

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I play records that were the first
time songs were ever recorded. And now

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we're going to go to the first
time the legendary standard that Old Black Magic

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was ever recorded. And then after
that record, a number of talented musicians

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formed a short lived small band,
but each member then went on to create

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their own paths to fame. Black
as the black bugic that you we who

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those are sleep things up and down
my spa, the same of will rave

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when you're aways meet man, the
same mole, bad me inside, and

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then the badest stars It's rare and
and run igle my car. That's call

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in the time. I should stay
way. But what did I do?

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Lay your name? And I'm a
flame, a flame shot, a burning

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design only your ki and for at
the fall, for you, the low,

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the way, for may that MA
had me f for And every time

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your lip, sweet mind darling die
and I go long, I go black

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Magic. Folks, you just heard
the first time ever recording of the American

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songbook classic on Victor Records, That
Old Black Magic, Glenn Miller and his

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orchestra vocals by Skip Nelson and the
Modern Airs. That record recorded in Chicago

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on July the fifteenth, nineteen forty
two, that Johnny Mercer and Harold Arlen

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standard That Old Black Magic was first
introduced on screen by Johnny Johnston in Paramont's

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All Star variety show Picture Star Spangled
Rhythm. And Now a very interesting fact

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about the studio recording and the ultimate
distribution of That Old Black Magic. This

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record that I just played was actually
the final number one Billboard bestseller for Glenn

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Miller. But as I mentioned,
It was recorded in nineteen forty two,

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recorded in Chicago July the fifteenth,
nineteen forty two, but it was not

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issued and did not hit record stores
and radio stations until early nineteen forty three.

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So at the time of the issue, the Miller Band had already disbanded

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as Glenn joined the service and formed
in Europe what became to be known as

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the Major Glenn Miller Army Air Forces
Orchestra. Glenn, who was lost that

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see while flying to an engagement,
was never found and tragically declared deceased on

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December twelfth, nineteen forty five.
So when that Old Black Magic was released,

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it was an essence released with a
phantom band because the record was made

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close to a year before its release. I'm Jeff Bresler, and you're listening

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to this week's edition of The Make
Believe Ballroom, the one, the only,

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the original Make Believe Ballroom broadcast almost
continuously for close to jumi mathis bad

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close to ninety yes, ninety years
since first hitting the airwaves in nineteen thirty

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five, and I welcome you to
today's program. Whether you're listening over one

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of our fine public or community radio
stations like WXDR ninety eight point nine in

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New Orleans, Louisiana. Or maybe
you're listening to internet radio or on many

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internet radio stations in Great Britain.
Perhaps you are listening today on a podcast.

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But no matter how you got here, I consider you a friend and

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I'm certainly delighted that you have dedicated
sometime today to visit me here in the

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Crystal Studio. I mentioned before Glenn
Miller that I was going to talk about

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a small band that was formed in
nineteen forty six. They cut a few

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sides for Deco Records. Why don't
I play one of those sides before I

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discussed the group them? You just
heard a wonderful swinger with the title of

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Swinging on the Famous Door, performed
for you by the Delta Four. The

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Delta four consisted of on bass Sid
Weiss, who had a wonderful bass solo

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on that record. The clarinetist was
Joe Marcella. Playing the guitar was Carmen

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Mastron. Roy Eldridge, who in
essence led the Delta Four, was on

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the trumpet. Now, the group
only recorded a couple of sides for whatever

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reason. Historically, I tried to
find out why the group didn't perform past

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just a couple of recording sessions,
but couldn't find out that answer. All

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the members of the Delta Four,
though, went on to have successful music

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careers, and I think one of
the reasons perhaps that the Delta four didn't

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perform more or record more records,
is because all the band members were hooked

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into other larger orchestras at the time. So at this point, why don't

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we take a look at each band
member and listen to some music they played

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during their careers. And since I
mentioned Sid first, Weiss was a much

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sought after journeyman. He started playing
in New York around nineteen thirty one,

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working that decade with some of the
true superstars of the big band era,

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Louis Prima, Bunny Bergan, Wingy
Manone, Artie Shaw, Tommy Dorsey,

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Charlie Barnett. I think Weiss I
don't have it written here, but I

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think he also played with Adrian Rolini. He was with Benny Goodman for a

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number of years in the forties,
then he played the second half of the

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forties. He ended his run with
Goodman in nineteen forty five, but he

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played the second half of the forties
in the early fifties with Muggsy Spaniard,

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Peewee Russell, Cosey Cole, Bud
Freeman, at the legendary Duke Ellington,

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and Nettie Condon. Quite a resume
for Sid Weiss. Here we are going

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to listen to mister Weiss playing the
bass during his Benny Goodman years. This

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session was transcribed for Coca Cola's Victory
Parade of Spotlight Bands. That was a

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great radio program that was on the
air during World War Two. This session

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took place at Cornell University in Ithica, New York, on September the twenty

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fifth, nineteen forty three. Well, well, look at Ben w Spotlight

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goes to college Cornell, and Benny
Goodman and the Gwynn Pad go to class.

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We see them concentrating just a little
bit on three Little Words school at

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scho the Benny Goodman Quintet Three Little
Words, Benny gene Krupa, Jess Stacey,

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Allen Royce and of course Sid Weiss
on the bass. The first of

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four musical pieces I'm playing today here
in the ballroom to honor the members of

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the Delta four Quintet. Now,
friends, we will go on to listen

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to a record from clarinetist Joe Marsala, who played with the Delta four.

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Joe, much like Sid Weiss,
was a much sort after journeyman playing the

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clarinet. He performed with many big
names in the thirties and forties, as

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well as leading his own orchestra for
a while. So let's listen to Joe

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Marcella when he led his own group
m F forre. We just listened to

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Jim Jams Stomp Joe Marcella and his
Chicagoans, recorded in nineteen thirty eight.

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Buddy Rich was on the drums for
that one at the young age of twenty,

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so we covered two of the Delta
four. Now time to move on

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to the talented guitarist Carmen Mastron.
Carmen had his longest run with the Tommy

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Dorsey Orchestra. Not only did he
play the guitar for Tommy Dorsey, but

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he also was responsible for the arrangement
of a number of Tommy Dorsey pieces during

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his years with the band. Carmen
was also the guitarist for his friend Joe

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Marcella, whose record we just heard. Here's one of Carmen's most popular solos.

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He performed this with the Big Four. That was a group that formed

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in New York in nineteen forty.
It was led by Sydney Boschette and Muggsy

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Spaniard. The group recorded eight tracks
for Hot Record Society during two sessions in

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March and April of nineteen forty.
Let's listen to this record called I Could

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Be with You Me he Bene me
can who does? Don't you don't know?

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The I Could Be with You a
great record with a guitar solo by

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the wonderful Carmen Mastron. And now
we go on to the fourth member of

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the Delta Four, undoubtedly the most
famous. I'm talking about Little Jazz himself,

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the amazing trumpeter Roy Eldridge, who
for decades brought his music to fans

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literally across the world. Let's listen
to Wabash Stomp roy Eldridge and his orchestra,

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recorded January the twenty fifth, nineteen
thirty seven, before You Stay You

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do the thing, not Wabash Stomp
Eldridge and his orchestra. And you know

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that was fun as I brought to
you first a song by the short lived

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quintet the Delta Four. Then through
records we followed the careers of each member

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of that group, Roy Eldridge,
Sidweiss, Carmen Mastron and Joe Marsala.

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Now I wasn't a member of the
Delta four, but I know what I

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am. And that's the host of
the one, the only, the original

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Make Beliey Ballroom and thanks so much
for joining me this hour. I can

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be reached at Jeff at Makebley Ballroom
Radio dot com. That's Jeff at mcbeley

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ballroom radio dot com. And does
several folks reach us each week through that

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email address? And I will prove
that to you right after this disc There's

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a doctor living in your term.
There's a lawyer in an Indian too,

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and neither doctor, lawyer nor in
gent chief could love you anymore than I

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do. There's a barrel of fish
in the ocean, there's a lot of

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little birds in the blue, and
neither fish nor falses the wise old I'll

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could love you anymore than I do. No, no, no, it

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couldn't be true that anyone else could
love you like I do. I'm gonna

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warn all the dead eyed dicks that
you're the chick with slick of strings?

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Can every tear come a ticker?
Tis for you follow through. Tell the

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doctor stick to his practice. Tell
the lawyer to settle his case. Send

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the in gent chief fantas t me
hawk back to little rain Enough face Ghus.

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You know no, no, it
couldn't be true that anyone else could

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love you like I do. No, no, no, it couldn't be

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true that anyone else could love you. I could confidentially, I confess I

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said no no to the local press
that I'll be changing my home address.

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How are you follow through? Down
the doctor stick to his practice, down,

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lay to saddle his case. Send
the engine chieftains Tommy on back to

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the reign in the face. You
know no, no, it couldn't be

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true that anyone else could love you
like I do. No, no,

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no, it couldn't be anyone else
could love you like that. I'm gonna

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send the hot calm unique to warn
the boys down a crimpled creed that every

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dample of your temple cheek is mining. So let's speak up to stick to

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his practice. Tell the lawyer to
saddle his kids. And it's Tommy or

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rain Enough Face not you know no, no it anyone else to love you?

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My god, my god, my
god, my gods. That was

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Doctor Lawyer Indian Chiefs sung by Betty
Hutton, orchestra and vocal quartet conduct by

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Paul Weston. The song was originally
introduced by Betty Hutton in the paramount picture

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The Store Club. So as promised
on The Make Believe Ballroom, Let's move

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on now to the reading of some
emails from listeners. I received this email

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from Victor Dent, one of our
dedicated Sarasota, Florida listeners. Haven't heard

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from Victor in a while. Victor
wrote, Jeff, Jeff, I think

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you messed up. What an ingratiating
way to start your email to me,

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Victor, Jeff, I think you
messed up when you played Cab Callaway's Some

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of These Days last week. I
think you played it at the wrong speed

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way too fast. Couldn't be the
real tempo. Besides that, though,

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keep up the good work at keeping
the Big Band era alive. Signed well,

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Victor, Indeed, that frenetic tempo
from last week's playing of Cab Calloway's

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One of These Days was for real, and that's the way it sounded on

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the Brunswick record. I have been
told though, and I think I'm going

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to try this on my own if
you play the record, the Brunswick recording

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at three quarter speed, it's going
to sound slower, obviously, and more

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to a tempo that most are used
to. It was an amazing tempo played

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by the Cab Callaway Orchestra, but
in retrospect I should have probably played a

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different version. So apologies to anyone
who thought the song was played at too

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fast a tempo or that perhaps we
had technical difficulties here in the studio,

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but we did not. I probably
should have played the Sophie Tucker version.

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Thanks for the email, Victor and
bringing that to my attention. Our next

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email is from Phil and Leasy from
Boynton Beach, Florida. Jeez, we

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do have a lot of listeners in
Florida. One on the West coast and

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Victor Dent, and we have a
lot on the East coast. Here from

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Phil and Leasy and Boynton Beach.
Phil and Leasy say hi Jeff, thanks

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for keeping the music of the Swinger
a robust and relevant. Both of us

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when we were young faithfully listened to
William B. Williams, host of the

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Ballroom on w NEW. A few
weeks ago. You played the Phil Harris

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song That's what I like About the
South. You played Phil's nineteen forty six

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version, which is much different from
his original nineteen thirty seven recording. The

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nineteen forty six version, and this
is our opinion, sounds like the first

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ever rap record. Do you agree, Phil? And leasy, you know,

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I do agree. The nineteen forty
six version of That's what I Like

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About the South by Phil Harris.
It does have a distinct rap like cadence

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to it. Perhaps perhaps Phil Harris
himself listened to and enjoyed records by the

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Jubelairs. The jubel Airs got started
as the Royal Harmony Singers in nineteen thirty

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six, but by nineteen forty two
they had changed the band's name and hit

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the top ten on the Rhythm and
Blues charts with the song based on the

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Great Composer, the Great Musical theater
composer Frank Lesser's song Praise the Lord and

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passed the ammunition that song being about
the attack on Pearl Harbor. Their song,

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the Jubileers song Noah, recorded on
King Records in nineteen forty six,

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employees in early form of rapping,
despite being wild different from the rap songs

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that we know today. Uh but
Many music historians have referred to this record

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the record I Am about to play
as the first ever rap recording. That's

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oh one, no, don't know
my God sto He would ride, We're

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gonna win, and us way to
stop steal and listen to me. If

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God walked down to the Brandy Sea, he declared that he was defender men,

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and then he decided to just the
laughter. He spoke to nort nor

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stop. He said, no,
I want you to build me an ark.

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I won't do the biddy three cubits
longer. I won't do the bidding

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big and strong. I'm won't add
thirty high fifty white so it will stand

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the wind entirely fool. No,
no, I got the ride on the

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entire no oh no, oh no, I got to go on the ride

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over the entirely nothing, ride on
in the way entire word d brother,

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no, my God talking right over
the way. They wo ride on a

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Weddland time lap. The foundation were
late, and then nor begin to you

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00:43:54.559 --> 00:43:59.280
and builder the ringing of the hammercrat
Judge of melt, the human of the

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salt prats the repaired one hundred years. He hadn't unsold billet out by the

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Greek so God. When the was
done, God, boys was heard,

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he said, now, no,
let me tell you what to do.

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Call the animals two by two.
So he called him in an ok two

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by two. We call the prison, the oxford, the candle, the

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root. And they called in to
a fact. How many sam then but

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began to plot the land. He
raised his hands to have a whole high,

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shoot the stars and moon front the
sky, shoot the mouth that he

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troubles to see. It's the wind, his Charry interview. He stepped on

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land, stood on the show and
the cloud. That time there wouldn't be

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no more, for no I knows
right on the time the Jubileers and Noah.

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If you ever listened to some of
the early Southern gospel records from the

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Statesman Quartet led by Hovey Lester,
who gained popularity in the early fifties,

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you certainly do hear the influence the
Jubiliers may have had on their music.

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And, come to think of it, Phil Harris recorded a song, The

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Preacher and the Bear, which I
think was first recorded by the Jubileers.

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Hold on, let me just check
my historic notes here. Yes, it

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was recorded by the Jubileers. So
if you connect the dots and come to

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think of it, Phil Harris recorded
a song called the Preacher and the Bear,

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which I think, if my recollection
is correct, was first recorded by

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the Jubileers. Hold on here while
I pull up a Jubileers playlist, and

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I scrolled down and up and down, and yes, indeed they did record

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Preacher and the Bear. Connect the
dots if you wish, Phil and leasy,

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and perhaps there is a connection between
the Jubileers, Phil Harris and the

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earliest days of rap music. But
this is not the Jeff Presler Gospel Hour.

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It is the one, the only, the original make believe Ballroom.

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So let's refocus now with this record. Maybe brebe eh babebeby eh prebye,

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Yes, my baby noise Matelda Brown, don't old king tut say. If

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00:46:50.000 --> 00:46:55.400
you can't say rebind, just keep
your big mouth shut shut eh byd hey

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00:46:55.760 --> 00:47:06.559
by eye ready, Yes your baby. No. Mom was on the chair,

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00:47:06.920 --> 00:47:09.639
MiB was on the card. Baby's
on the floor blowing. It's natural

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00:47:09.840 --> 00:47:17.880
time saying nay, I belief,
I believe, Hey, if I believe,

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yes, that's my baby no up
in the mountain, mad as I

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00:48:39.039 --> 00:48:43.960
can be looking for the cat that
took my baby from me. He's saying,

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00:48:44.039 --> 00:48:50.880
hey, I read by, Hey, I read by heh he I

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read yes, my baby nose.
Now you've learnt this song from start to

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00:48:58.599 --> 00:49:16.079
him. Now take the title once
again, Baby Hey, Hey Bober rebop

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00:49:16.239 --> 00:49:22.719
by Text Beneckey, with the Glenn
Miller Orchestra, vocals by Texts and the

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00:49:22.880 --> 00:49:29.519
band the record. The song actually
co written by Lionel Hampton. This be

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00:49:29.719 --> 00:49:37.840
boppish top five hit was the first
of several best selling singles by a post

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00:49:37.440 --> 00:49:45.880
war Glenn Miller Orchestra under the leadership
of Glenn's former singer and tenor saxman Gordon

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00:49:45.960 --> 00:49:52.519
Text Benneckey. The Miller family,
after Glenn's demise in World War Two,

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00:49:52.559 --> 00:50:00.559
specifically asked Texts to take over the
helm of the Glenn Miller Orchestra and now

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00:50:01.000 --> 00:50:07.960
taking over the helm on our record
turntable. The co author of Hey Bob

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a Reebop, mister Lionel Hampton click
click click click. That was the nineteen

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forty Victor Records version of Flying Home
Lionel Hampton and his Orchestra and written by

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Lionel Hampton and Benny Goodman, and
now as I look to the big bull

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00:53:21.719 --> 00:53:25.000
of a clock here in the Crystal
studio, I see we're getting close to

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00:53:27.119 --> 00:53:30.320
running out of time on this edition
of the Make Believe Ballroom, but I

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00:53:30.400 --> 00:53:36.039
do have time to play one by
Yasha Bunchuk. No, I didn't make

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00:53:36.119 --> 00:56:35.880
up that name. Here's proof at
at that was Russian born cellist Yasha Bunchuk,

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who achieved fame in the US as
a conductor for UH several symphonic orchestras,

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as well as serving for a long
time as the studio orchestra leader for

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00:56:47.440 --> 00:56:54.039
the Major Bows Amateur Hour on the
radio on Brunswick Records. You heard Crazy

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00:56:54.400 --> 00:57:01.639
Rhythm Yasha Bunchuk and his Swing Symphony
Orchestra, recorded December the fourteenth, nineteen

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00:57:01.920 --> 00:57:07.559
thirty six. So, my friends, it is now officially time to turn

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00:57:07.639 --> 00:57:14.320
out the lights of the Crystal Studio
because unfortunately, this week's Make Believe Ballroom

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is coming to an end. If
you'd like to contact me, I'm Jeff

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00:57:17.320 --> 00:57:22.840
at MakeBelieve Ballroom Radio dot com.
That's Jeff at MakeBelieve Ballroom Radio dot com.

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00:57:23.360 --> 00:57:29.440
To hear past shows in the series, please go to www dot MakeBelieve

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00:57:29.480 --> 00:57:36.400
Ballroom Podcast dot com. That's MakeBelieve
ballroom podcast dot com, or visit your

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00:57:36.480 --> 00:57:40.599
favorite podcast provider, whether that be
Apple, Spotify, iHeartRadio. We are

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00:57:40.800 --> 00:57:47.159
on over fifteen platforms and I'm virtually
ready to jump off the platform. By

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00:57:47.320 --> 00:58:07.119
letting you know this has been Jeff
Presler. Just keep on dancing. Though

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00:58:07.199 --> 00:58:13.639
you've only a small room, make
your ballroom. Let's fas