July 26, 2024
Make Believe Ballroom - 7/26/24 Edition
On this week's edition of the MAKE BELIEVE BALLROOM’s weekly big band record party broadcast over member supported Jazz 90.1 WGMC-FM in Rochester, NY, and other fine affiliates across the US as well as in the United Kingdom – Big Band Era singer and...
On this week's edition of the MAKE BELIEVE BALLROOM’s weekly big band record party broadcast over member supported Jazz 90.1 WGMC-FM in Rochester, NY, and other fine affiliates across the US as well as in the United Kingdom – Big Band Era singer and bandleader brother combo, how Louis Armstrong got his nickname, Who’s Yehoodi??, All this and more of the greatest hits of the big band era are played for your musical enjoyment.
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It's make believe ballroom time.
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Put all your cares away.
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All the bands are here to bring good cheer your way.
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It's make believe ballroom time and free to everyone.
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It's no time to friend your Dalis.
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Said Bamba yours. Close your eyes and visualize in your solitude.
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Your favorite bands are on this dance and mister Miller,
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but you're in the wood.
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Its make believe ballroom time.
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We are of sweet romance.
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As you make it.
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Boo, Come on, Joe, last dance.
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Last, Hi, folks, I'm Jeff Presler, turning on the lights
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of the make Believe Ballroom and welcoming you into my
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crystal studio for another hour of the greatest swing, jazz
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and big band hits of the nineteen thirties and nineteen forties.
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I'm hosting the show to keep the music in traditions
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of past hosts Martin block Al, Jarvis William B. Williams,
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and the legendary Steve Allen alive. Whether you one of
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my longtime listeners or maybe today new listener to the program,
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I invite you to join me for some of the
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greatest jazz and swing hits from the big band era.
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Hello world, and thanks for coming into the Crystal Studio
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today for another broadcast of The Make Believe Ballroom, coming
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to you coast to coast and across the Atlantic Ocean
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on stations like Members Support of Jazz ninety point one
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of You GMC in Rochester, New York, and on many
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other fine affiliates across.
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The US and in the UK.
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The first record I Am going to play on this
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edition of The Make Believe Ballroom features a band leader
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who didn't start his own band, but was actually elected
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to lead one. If you were out on a date
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to say in the late thirties, and decided to go
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to a ballroom in the city you came from to
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dance and have a good time, you might just have
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ended up listening to Bob Crosby and his orchestra because
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their music was well, it was uncomplicated, just fun swing
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to dance to. And as an example, the record College
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Swing I Just played was recorded by Bob Crosby and
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his orchestra in nineteen thirty eight. Bob Crosby, as many
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of you might know, was Being's younger brother, and he
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often found himself in the odd position of being the
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least important member of his own orchestra. Indeed, he sang
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very well. But Bob Crosby couldn't play an instrument or
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read a note of music. But that didn't stop him
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from enjoying a very long career as a band leader
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and all around radio personality. I told you Bob's first
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gig as an orchestra leader found him not starting a band,
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but being elected to lead one. So, as the story goes,
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a group of musicians working for band leader Ben Pollock.
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We play a lot of Ben's music on this program. Well,
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that group of musicians became disgruntled and they decided to
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quit Ben's band in mass and to organize themselves under
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the direction of saxophonist Gil Rodin. This organization, founded by
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gil Rodin, voted to start as a cooperative venture, with
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all of the members owning an equal share in the group. Now,
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if that sounds familiar, it's because the Cassoloma Orchestra had
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done the same thing at the start of the decade,
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the start of the nineteen thirties and all through the
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nineteen thirties, they were reaping big rewards. And this group
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had at least as much talent the gil Rodin group
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as the Cassiloma Orchestra did. What they needed was a
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vocalist who could also provide them with the name and
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personality that the public could appreciate. So ironically, it was
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Cork O'Keefe, the agent of this new band, who'd also
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played a key role in organizing the Casso Looma Orchestra,
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who steered them towards Bob Crosby. Well, that proved to
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be a major strategic success. Bob had a great personality,
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he possessed the Crosby name. Bing Crosby at that time
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was the country's most popular crooner, and he almost single
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handedly Bing Crosby turned Decca Records into a major label,
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and the cork O'Keefe felt that with Bing Crosby opening
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the door, it might allow Bob Crosby and company to
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get into the Decca Record studios. Also, Bob Crosby also
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founded the small band the Bobcats, which was a Dixie
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Land octet that became a huge success for many years.
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So a little on Bob Crosbie, and now let's go
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from Bob Crosbie to his brother thing.
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Let's say some dogies long ago, we're searching for a
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different tune. One day could croon as only they can.
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They only had a rhythm soul let's started swaying to
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and fro.
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They didn't know just what to use. That's how the
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blues really big man. They heard the breeze in the
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trees singing weird melodies. They played that as the start
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of the booth. And from a jail came a whale
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of a down hearted frail, and they played.
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That as part of the boom.
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From a whipper wheel out on a hill, they took
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a new no, hoist it through.
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A hall until it was warm.
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Into a blue no, and then they nursed it, rehearsed, gave.
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Out the news that the south Land gave birth to
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the blue from.
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And then they nosed it rehosted, gave.
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Out the good news that the sound gay birth the boom,
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the birth of the boom.
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That was Birth of the Blues from a movie of
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the same name that starred Bing Crosby and Mary Martin.
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Birth of the Blues was a song of the nineteen twenties,
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but it was revived for the movie and recorded on
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Decca Records May twenty sixth, nineteen forty one, featuring the
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Great Jack T. Garden and his orchestra. Friends, after this
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next song, I'm going to play a record by one
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of the greatest, if not the greatest jazz musician of
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all time, who, like Bob Krasse, did not know how
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to read music at least early in his career. He
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couldn't read music. That coming up after this.
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Bulu Man Red Blue Blue, Do you love me and
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I Love you?
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And when you love it?
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Natal to dig dig do dig do do diggy digg
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do do.
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Do rnsell Bert dig my nature.
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If you don't say do your nature, go lose you mamo.
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Let those funny people smile?
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How can there be your bird?
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And I with a digger dig do digga doo dooing
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dog do.
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You just heard one of the greatest crooners of all
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time and he say better than Bing Crosby and the
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movie and comedic legend who also had a pretty fine voice.
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I pulled that song that I just played from the
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Lifeboy radio show that was hosted by Al Jolson and
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featured with Jolie. In that duet was the beloved Martha
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Ray transcribe back in nineteen thirty seven, this Jeff Wrestler
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and you're listening to the one the only the original
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Make Believe Ballroom regaling listeners with the vest in jazz
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and swing since nineteen thirty five. And to reach me
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by email, I'm Jeff at MakeBelieve Ballroom Radio dot com.
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That's Jeff at MakeBelieve Ballroomadio dot com. And we receive
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many emails each week, and I certainly deeply appreciate it,
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and I'm going to read a few a little later
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on in the program. Now, I promised a record by
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a jazz great before, Al Jolson, who like Bob Crosby,
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could not at one point in his budding career when
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he was very young, read music. But that didn't stop
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him from becoming a legend.
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And my heart gets a chill. I feel such a trill.
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My feet won't keep still. When they swing that music
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driven like that puts me.
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In a trance.
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You can't blame me from wanting to dance.
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From what I understand, you're simply grand to playing a
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band when they swing that music. I'm so happy asking
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thee when they swing that music from.
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On August seventh, nineteen thirty six, Louis Armstrong teamed up
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with Jimmy Dorsey and his orchestra for a Decor Records
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recording session while both were in Los Angeles. We just
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heard one of the six sides Louie and Tommy produced,
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that being the just played swing that music. And as
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I mentioned, Louis Armstrong at one point in his career,
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albeit as a youth that could not read music at all.
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Louis Armstrong first learned to basically read music in the
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waif's home where he lived for some time as a
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troubled youth when he was about twelve years old in Louisiana.
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When Louis finally joined the Fate Marrable Band several years
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later as a teenager, he had to greatly improve his
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reading because the Marrable Band was the first band that
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Louis was in that actually used written arrangements. So an
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interesting fact about the great Satchmo Louis Armstrong. And I
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didn't plan on doing this, folks, but a question how
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did SA get his nickname? Let me play another Armstrong
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tune and then the answer to that question. So let's
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look at my Louis Armstrong playlist and going up and
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down the list, there are so many, with so little time,
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I shall, I shall choose this record.
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Now, I don't care what the weather man says.
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When the weatherman says this raining, you never hear me complaining.
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I'm saying the sunshine. I don't care how the weather
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van points. When the weather vent.
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Points too gloomy, it's got to be summed to me.
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When your eyes look into mine? Oh gee, bus.
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Cree buzz, when'd you get those bee buzz jee.
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Buzz, creep burds? Where you get those eyes?
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Oh gosh, I'll get hot, get so lit, gosh, I'll
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get hot. Get that size o golige gee when you're
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trying on.
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Who it's me?
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Got to put my cheetos on? Jeep burs, creep burs.
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Where'd you get those papers?
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Oh?
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Those sweet burds, hot hypnotizes.
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When you get those eyes? Gate? Where did you get
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those eyes? Sets? Where'd you get those eyes? Baba said?
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Those eyes?
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The song we just played was the Oscar nominated Mercer
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and war in tune that spent five weeks atop the
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Your Hit Parade radio survey, and it was Louie himself
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who performed it on screen, actually singing to a horse
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in the Dick Powell musical comedy Going Places. On DECA Records,
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you just heard Jeepers Creepers Harry Warren, Johnny Mercer, Louis
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Armstrong and his orchestra recorded in New York City, January eighteenth,
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nineteen thirty nine, and in the song I Just played
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Jeepers Creepers, Louie did indeed refer to himself as Satchmo.
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So the question is how did Armstrong get that nickname? Well,
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Louie had many nicknames as a child, all of which
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referred to the size.
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Of his mouth.
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There was a gatemouth, dipper mouth, and satchel mouth. So
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during a to Great Britain, Louie was met by Percy Brooks,
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the editor at the time of Melody Maker magazine, who
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greeted him by saying, Hello, Satchmo. It seems he inadvertently
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Percy Brooks inadvertently a contracted satchelmouth into Satchmo. So Louie,
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not offended at all, loved the new name and adopted
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it for his own. A little historic tidbit there on
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how Louis Armstrong got the name Satchmo. Friends, if you
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were an avant garde, well dressed man in the nineteen forties,
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you might very well have worn one of these.
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Sleep with the Great shape and stuff. Come to look
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sharp enough to see my Sunday girl. I want to
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read sleep with the right stripe and the dress best
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and the flat flat and the lady's bad to see
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it Sunday again. I want to look keen, so my
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dream will say, you don't look like the same boat,
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So keen, that's your screen yet, come to walking rainbow
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sweets of magazine, suit with three sleep with the great
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shape and stuff.
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Come to look sharp.
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Enough to see my Sunday girl.
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I want a brown gown with the bob up, with
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the head left than the lads.
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West in the shop of taste to see mine Monday.
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The water, back with the friends and back with the
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ride to where he gets to see my from this sound.
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I want to look so my dream will.
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Say that he'll scream babies and technic colors.
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I want out with the.
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Shopping thing my.
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Sunday j.
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A zoot suit for my Sunday gal by Kay Kaiser
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and his orchestra. Vocal by Sully Mason with Trudy, Dorothy
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Jack and Max. The fashion minded song hit climb to
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number eight on the Weekly Single Sales charts. It was
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recorded on Columbia Records in nineteen forty two. The zoot
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suit was I guess best explained as an extreme cut
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garment referred to as a drape shaped. The suit typically
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consisted of a thigh length jacket with wide padded shoulders
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and lapels, and peg pants with the narrow cuffs. Many
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zoot suit wearers also wore a large, oversized what's the
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name of the hat? Fedora like hats. But there was
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