Make Believe Ballroom - 7/5/24 Edition

WEBVTT

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It's make Believe ballom time. Put
all your cares away. All the bands

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are here to bring good cheer your
way. It's make Belief ballroom time and

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free to everyone. It's no time
to friend your Dalis said bombs, close

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your eyes and visu lie in your
solitude. Your favorite bands are on the

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stands and mister Miller, but you're
in the wood. It's make Believe ballroom

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time. We are a sweet romance
as you make Bob. Come on,

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Jon, Last dance Last. Hi, folks, I'm Jeff Bresler, turning

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on the lights of the Make Believe
Ballroom and welcoming you into my Crystal studio

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for yet 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 this program to keep the music

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and tradition of past hosts Martin Block, Hal Jarvis, William B. Williams

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

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

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

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and thanks for being here with me
on yet another edition of The Make

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Believe Ballroom broadcasting on Members Supported Jazz
ninety point one WGMC in Rochester, New

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

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as in the United Kingdom. And
let's get to day's listening party right underway

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with a tune that I've always personally
thought was just a little underrated, king

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over a solid underrated sender from Larry
Clinton's Great Band with some swell tenor sax

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playing from Tony Zimmers. That was
Chant of the Jungle, recorded on Victor

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Records in nineteen thirty eight. And
now, folks, many of you have

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emailed me to let me know that
you enjoy the segments I have done over

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the past several weeks on bands and
records never heard here ever before on the

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Make Believe Ballroom. And who might
disappoint as I present to you now,

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Indiana born bandleader Eddie Stone. Wonder
dint thing anything? That was a real

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nice instrumental side from Eddie Stone's short
lived late nineteen thirties band Eddie Stone and

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his Orchestra with Smuggler's Nightmare recorded on
Vocalian Records in nineteen thirty eight. Friends,

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I will now play one more record
and then a story of how this

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very make believe ballroom in its earliest
years won a landmark radio court case.

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More More, Clyde McCoy first recorded
his signature tune a Sugar Blues in January

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of nineteen thirty one. It is
band's first recording session for Columbia. Four

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years later, he redid Sugar Blues
in this past recording his most familiar version,

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and that version of Sugar Blues we
just heard was for his first recording

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session for Decca Records. Sugar Blues
by Clyde McCoy and his orchestra, recorded

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in Chicago, January thirty first,
nineteen thirty five. And now no offense

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to mister McCoy, but not one
of my favorite orchestra leaders of all time.

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As a matter of fact, I'd
like to call him Clyde mccorn,

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which was evident in the playing of
Sugar Blues. But the record does have

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special meaning, and I'm going to
tell you about that in just a moment,

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because before Sugar Blues I said I
was going to talk to you about

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a landmark court case involving the Make
Believe Ballroom, Yes, the one,

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the only original Make Believe Ballroom broadcast
first in nineteen thirty five and still broadcast

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today some eighty I guess it's eighty
eighty nine years later. I played this

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record Sugar Blues, because it was
the very first song ever aired on the

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original w New eleven thirty AM in
New York Make Believe Ballroom back in nineteen

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thirty five. This show was initially
created not as a long form program,

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but as filler by WNAW staff announcer
Martin Block to fill in time between news

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bulletins covering the Lindbergh baby kidnapping trial, and of course Martin Block did go

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on to become the longstanding host of
this program. Well the station WNW,

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they didn't have access to a live
orchestra to play music, so Martin Block

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left the studio, went to a
record store in Manhattan, and he purchased

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five Clyde McCoy records to play instead
of having a live orchestra. By playing

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records instead of having live music play, which all music programs of the era

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did, Martin Block became one of
the first disc jockeys to grace the radio

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airwaves. The make Believe Ballroom.
After its February nineteen thirty five initial broadcast

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continued to thrive with its unique concept
of playing records and not having live orchestras

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in the studio, but with that
came a series of monumental problems. A

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year later, in nineteen thirty six, the use of recorded music on w

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NEW and most specifically the Make Believe
Ballroom, resulted in a lawsuit that was

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initiated by band leaders Paul Whiteman,
Sammy Kay and Fred Waring, three of

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the big names during that era,
and the three band leaders claimed that the

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playing of records on radio broadcasts was
undermining performers network contracts, which often called

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for exclusive services from those band leaders. So, for example, when Paul

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Whiteman hosted the Craft Music Hall on
NBC, which he did for a number

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of years, he was abound by
contract to not perform on any other radio

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station. Well. The court rule
though that WNW, after purchasing each record,

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was legally allowed to broadcast the music, regardless of the resistance from performing

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artists. Wnw's victory well it actually
subsequently authorized radio stations across the country to

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start playing recorded music, and as
a result of that, it brought about

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the modern radio programming format of DJ
music, which, as we all know,

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survives to this very day. So
here on the one the only,

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the original Make Believe Ballroom a little
story on how in the earliest years of

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this program the radio musical landscape was
changed forever. I'm Jeff Bresler, and

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you are indeed listening to the Make
Believe Ballroom hurt each week on members supported

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Jazz ninety point one WGMC in Rochester, New York, and a host of

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other fine affiliates whose studios are housed
across the US as well as in the

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United Kingdom. And to reach me, I'm Jeff at MakeBelieve Ballroom Radio dot

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com. That's Jeff at MakeBelieve Ballroom
Radio dot com. And to hear past

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programs, please go to MakeBelieve Ballroom
Podcast dot com. That's MakeBelieve Ballroom Podcast

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dot com, or visit your favorite
podcast provider. And I must thank Spreaker

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iHeart for doing such a fine job
of distributing the podcast version of the Make

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Believe Ballroom each and every week.
Who ray for Spinach, Who ray for

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Milk? They put the roses in
your cheeks, off the silk. They

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helped complete you till I could meet
you. Baby. Hooray for sunshine.

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Hooray for they put the permanent in
your curly hands. They helped to raise

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you till I could raise you,
baby last. The summer that freckled your

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nose, those glosses, the shellers
you told me, bles's the fellow who

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taught you to if he had a
hand of teaching you. The kids like

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that who raped for spanach, look
your father, bless all the nursement eats,

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candy bar. They helped you grow
up. Feel I could show a

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fan love you as you are.
To ray for spinach, Ray ray rare

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for spinach. Put it on your
diet and try and the best food in

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the land. Who ray for sunshine? Hooray for they put the permanent in

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your head. They helped to raise
you till I could raise you, baby.

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Last. The summer that freckled your
nose, loose glasses that shallowed your

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toe, lest devil who taught you
the kids hippy taught you the kiss like

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this? Who rapast manage It took
you by bless all the nurseman and he's

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candy, by hip a postman hip
fastpin it. It helped you grow up

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till I could show up and love
you as you are. That was hooray

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for Spinach. Paul Whiteman and the
swing Wing featuring the Modern Airs as well

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as Jack and Charlie T. Garden
recorded made the sixteenth, nineteen thirty nine,

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and of course that was the very
same Paul Whiteman who brought the lawsuit

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against the wnew that we just spoke
about, and the lawsuit, of course

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initiated because of the Make Believe Ballroom. And on that record we just heard,

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the trombone of Jack T. Garden
was featured, whose music we played

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last week on the program. And
after this song, I think I'm going

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to go through my old notes to
see if I could dust off an old

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Jack T. Garden story that I
told here on the Ballroom several years ago.

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Must sat the Fires was the former
at the sum the Spa FA lesson.

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You just listened to wood Chopra's Ball
by Woody Herman and his orchestra.

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Woody recorded the song a number of
times, but that was the nineteen thirty

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nine Decca Record's original recorded version of
his famous piece, Woody Herman's wood Choppers

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Ball. And now on to a
classic Jack T. Garden story the trombonist

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and band leader Jack T. Garden. He loved model trains and also electric

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trains, and during wood Choppers ball, I found a classic story about Jack

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told by Barney Berguard. Barney,
who played clarinet and tenor saxophone for many

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years with Duke Ellington. He played
alongside Jack T. Garden as a member

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of Louis Armstrong's All Stars for a
number of years. So Barney beguard said,

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if we played along engagement somewhere and
you went into Jack's hotel room,

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you'd see nothing but all kinds of
wires, little whistles and steam engine things.

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Told me that he learned about all
that stuff when he was a kid.

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One time we were checking into a
hotel and he had this great,

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big trunk, like a sailing trunk. He had all his contraptions in there,

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all the iron and steel and tracks
and stuff. So the bus driver

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helped him put this trunk on the
sidewalk, and here came the bellboys.

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Which one is yours, mister T. Garden? This one, this one

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in this trunk. Do you know
those bell boys had to send for help

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to get those train things up to
his room. He was quite a man.

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The girls all used to flock around
Jack. He had that sort of

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personality where you would want to mother
him, to take care of him.

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They all thought that they were onto
something big when he would ask them to

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come up to see the model steam
engines in his hotel room after the show.

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Well, those poor chicks would just
sit on the bed waiting for something

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happen while Jack laid out on the
floor fixing tracks, blowing the whistles,

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and making the engines work. A
classic story my friends about Jack T.

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Garden and Jack when he traveled by
train, which was the main form of

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long distance and coast to coast travel
during the Big Band era, he would

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frequently do to his fame, speak
to railroad executives to see if you could

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get permission to sit with the engineers, which he frequently did, and many

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times traveled for many hours not in
the coach section of the train, but

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in the engineer's compartment. And you
know it wasn't just Jack T. Garden.

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The great jazz author and journalist Nat
Hentoff mentioned in an article I once

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read that Count Basie also had a
basement filled with model railroads and electric trains

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in his home and now, folks, while we're on the subject of trains,

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why not play a few train songs? And why don't we start with

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a train song with a boogie beat. B That was honky Tonk Train,

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the famous boogie woogie piano number that
had been introduced in nineteen twenty seven by

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its composer, Meet Lux Lewis.
And we just heard honky Tonk trained Bob

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Crosby and his Orchestra featuring boogie woogie
piano by the great Bob Zurki and recorded

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in Chicago, October nineteenth, nineteen
thirty eight. Here's now one of my

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favorite train songs, A great train
song that I think time forgot, but

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at the time a popular tune for
Louis Jordan and his Timpani five. I

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know you heard of the Chattanooga Chuchu, the Rock Island, the New York

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Central, the New Haven and Hartford, the Pennsylvania, the Missouri Pacific,

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the Southern Pacific. The Northern Pacific
is terrific. Off a jack, you

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heard of the ic and the Sandy
Feet. But you gotta take a ride

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on the tepee. I'm buying time
aboard to Texas and Pacific. On the

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past Big Deed didn't stay about a
half an hour or two Best Pacific Cowtown

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just to shan Wade. Heading southwest
on the Texas and Pacific, Big wis

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blacking around. All the sites that
I take in are quite ter Riffege I'm

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west Texas by hu, say mister
porter, I'm wide my gal. She's

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waiting en pass over me, said
mister border. That's vehicles, no less

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but stunts and needs of dusting,
and my pants need a breast. I

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guess they'll have to find. I
have to trip the border fifteen minutes,

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he says. When I arrived,
we'll take a trip across the border.

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Money and moon and my rest across
the team specials gets me there much less.

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And say Min's the border. I'll
ride my gel. She's waiting the

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out pass over me. Say Min's
the border. That's pickles no less but

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stunts and needs of dust and not
my pants need a rest. I guess

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don't have to find. I have
to tip the border fifteen minutes, he

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says. When I arrivee we'll take
a trip across the border. Honey moon

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and my restcus the teeth special gets
me there. In my smell that was

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on Decker Records, Texas and Pacific
Louis Jordan and his Timpany five, recorded

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on October tenth, nineteen forty six. So we started this segment on Jack

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T. Garden and his Model Train
set. So let's appropriately end the segment

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with one of Jack's records, My
Sail Spending, Oh Yo, sail long

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no growl see what sails? Swell
read John how soon well? My home

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long sting someone new, watching and
waiting so patiently watching for you, waiting

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for me, myself will find all
blue, Just do my love bending.

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That was the T. Garden Band, which the record label billed as featuring

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sixteen men and a girl with the
popular song White Sales, and that tune

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reached number two on the weekly Your
Hit Parade, recorded on Brunswick Record,

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White Sales. Beneath the Yellow Moon, Jack T. Garden, his orchestra,

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the sixteen men referred to on the
label, and the vocal by the

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one girl a girl ping Linda Keene
the record record in New York City,

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May the fifth, nineteen thirty nine. I'm Jeff Bresler, and you're listening

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to the weekly edition of the Make
Believe Ballroom. As I mentioned earlier,

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I can always be reached at Jeff
at make Believe Ballroom Radio dot com.

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That's Jeff at MakeBelieve Ballroom Radio dot
com. And you know I ended our

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trained segment now, I come to
think of it without acknowledging the other model

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trained savant of the era, the
amazing count Basie. Let's see what we

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got in the basey rotation. How
about this one here with the equally amazing

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vocalist Jimmy Rushing. Mama, don't
you beg your daddy? Are no die

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arranged? Mama? Don't you beg
your daddy for no dime? Rack cause,

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Mama, you already got the p's
no way everything. I've seen you

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ride round in a brand new car. I've seen you ride a round in

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a brand new car. I know
you couldn't ride. You're not used to

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cavya. Now, get up,
get up, Get up, Get up,

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woman, Get up off your big
bad Rusty does it? Don't hear

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me? Get up, Get up, Get up for month, Get up

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off your big bread rusting the day. Get up, mama, get up

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before you get to Rusty. Now, you got the very best best of

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everything, Yes, baby, you
got the best of everything. You better

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lose. That's a faint thing,
cause I'm throw up bread, Mama,

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food, you letting me go away? That was Rusty Dusty Blues by Count

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Bassi and his orchestra vocal by Jimmy
Rushing, recorded on Columbia Records in nineteen

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forty three, and now on the
Make Believe Ballroom. How about just for

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kicks, I am pulling up my
playlist of hits hit records from nineteen forty

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three, the same year Count Bassi
recorded Rusty Dusty Blues, And let's see

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what that list produces. And why
don't we play stand by as I look,

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Wait a minute, here is a
great one, and I know I

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haven't featured this one on the show
in a long time. A fantastic trio

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00:42:55.880 --> 00:43:05.400
with one of the greatest crooners of
all time. Lay that pistol down,

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Babe, Lay that pistol down,
pistol pack and Mama, lay that pistol

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00:43:12.280 --> 00:43:21.639
down. Drinking beer in a cabaret. Was I having fun until one night

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00:43:21.800 --> 00:43:24.920
she caught me. Right now I'm
on the run. Oh, lay that

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00:43:25.159 --> 00:43:30.800
pistol down, Babe, Lay that
pistol down, pistol packing, Mama,

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00:43:31.639 --> 00:43:39.800
lay that pistol down. See you
every night being and a woo you every

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00:43:39.880 --> 00:43:45.800
day. I'll be your regular mama, and I'll put that gun away.

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00:43:45.400 --> 00:43:52.559
I'll lay that pistol down, Babe. Lay that pistol down. Pistol packing

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Mama. Lay the thing down before
it goes off and hurt somebody. Oh,

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she kicked out my wind. She
then she hit me over the head.

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She accustomed cried and said I'd lie, and she wished that I was

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dead. Lay that pistol down,
Babe, Lay that prystol down. Pistol

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backing Mama. Lay that pistol down. With three tough girls from deep down

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Texas way. We got no pels. They don't like the way we play

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it. Wear a rough root and
shoot tree of about your seeing a sister

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00:44:30.400 --> 00:44:32.800
or cleaiol. She's a terror mader
hair. But the rain a lass affair.

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Here's what we tell her. I
lay that pistol down, Babe,

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Lay that pistol down. Pistol packing
Mama, lay that pistol down. Happy,

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00:45:05.800 --> 00:45:09.400
made a batch of corn. The
Reverend Newers came. The drug was

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slow, So now they know you
can't do that to name. Oh,

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00:45:14.679 --> 00:45:20.440
laid that pistol down, Babe,
Lay that pistol down, pistol packing.

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Mama lade that pistol down, singing
songs in the cabaret. Was I having

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found until one night it didn't say
Mama round, lay that pistol down.

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00:45:37.840 --> 00:45:47.679
Babe, lay that pistol down.
Pistol packing, Mama lay that stal pistol

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00:45:47.880 --> 00:45:59.280
pack, and Mama lay that pisto
down. There was pistol packing Mama by

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00:45:59.360 --> 00:46:06.440
bing Cross being the Andrews Sisters Orchestra
conducted by Vic Shoon on Decca Records,

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00:46:06.840 --> 00:46:13.679
recorded in nineteen forty three. And
as I was looking at my nineteen forty

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three playlist, I came across this
early Lena Horne recording. There's no sun

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up in the sky. Stormy weather. Since my man and I together,

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00:46:49.400 --> 00:47:05.400
straining all the time, life is
based gloom and misery everywhere, stormy weather.

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00:47:07.840 --> 00:47:20.280
Just can't get my pulself together.
Weary all the time, the time,

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00:47:22.960 --> 00:47:32.480
so weary a time when he went
away, the blues walked in and

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00:47:32.800 --> 00:47:39.239
met me. If he stays away, all rock and chair will get me.

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All I do is pray the Lord
above will let me go in theser

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00:47:49.679 --> 00:48:02.400
once small can't go. All I
havin life is gone stormy weather since my

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00:48:02.960 --> 00:48:17.280
man and eye together keeps raining all
at times, keeps raining all a time.

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00:48:27.679 --> 00:48:36.639
I walk around heavy, hard and
sane. Light comes around and still

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00:48:37.159 --> 00:48:45.039
feeling bad, rain pouring down,
blinding every hope I had this Peter and

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00:48:45.280 --> 00:48:54.440
pattern, beaten and spattern drive me
mad, love love love love. This

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00:48:55.000 --> 00:49:08.079
neuser is just too much. All
me can't go. Everything had his gone

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stormy Weather since my man and I
together straining all chee straining No Lo.

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That, of course, was Stormy
Weather by Lena Horn Orchestra conducted by Lou

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00:49:49.360 --> 00:49:57.760
Brain and recorded on Victor in nineteen
forty three. The song little His Stark

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00:49:57.920 --> 00:50:04.280
note here actually first became a hit
we lo it is so closely associated with

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00:50:04.440 --> 00:50:08.639
Lena Horn, but it first became
a hit for Ethel Waters ten years earlier

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in nineteen thirty three. But of
course, this famous version waxed by Lena,

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reached its peak of popularity during the
theatrical run of the nineteen forty three

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film musical Stormy Weather, in which
he appeared with a star studded cast and

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00:50:30.760 --> 00:50:39.519
all African American star studed cast Stormy
Weather. And now, as is tradition,

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it's time for me to look at
the big bull of a clock on

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the wall in the crystal studio to
see how much time we have left in

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this broadcast of the Make Believe Ballroom. And I see we do have time

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left to regale you with a few
more records from the thirties and forty.

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And here's another one that I haven't
played in a long time now. The

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name of this song is the flat
Sleet Fuji, the flat feet Flugi with

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the ball fl the flat feet Bug
with the boy flow, the flat feet

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00:51:15.280 --> 00:51:21.199
Blueja with the fall, the John
Jo Jo John, the fat feet Bluer

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00:51:21.320 --> 00:51:24.880
with the boy blow, the fat
feet Bug with the bar flo the fat

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00:51:24.920 --> 00:51:31.239
fleet Blue with the blown, the
John b John John's you seen in the

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same don't know what, no,
no, no, it's hanging and dine

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on't door. Just sing this river
in the ar The flat feet Fugure with

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00:51:43.400 --> 00:51:47.559
the ball blown, the fat feet
Bug with the f f fat fleet Bug

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with the ball has flown. The
Dang thank bang Bang bang thank Dang Dang

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00:51:58.599 --> 00:52:31.960
Dan thank bangs bad my little black
boy being a man, a man and

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00:52:46.000 --> 00:53:21.599
man Job John Jo Jo, Ladies
and gentlemen, swing with us, So

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00:53:22.079 --> 00:53:25.960
everybody come on and sing with us. The fat defeat with the flow,

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the fat, feet with the ft, with the the fat with the fact,

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feet with the the fat with the
fln Again, man, you just

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00:53:52.400 --> 00:53:59.320
heard the dynamic duo of Slim Gallard
and Slam Stewart singing flat feet fluge And

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the label, though reads the record
label on vocally on records reads flat not

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00:54:06.239 --> 00:54:13.079
feet, but flat fleet flug.
But it became most commonly known as the

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00:54:13.239 --> 00:54:19.480
flat foot Flug. But nevertheless it
was Slim and Slam, and they recorded

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00:54:19.559 --> 00:54:23.800
the record in New York City on
February seventeenth, nineteen thirty eight. But

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00:54:24.480 --> 00:54:29.960
friends, there are a few more
details to this classic record to unpack for

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00:54:30.079 --> 00:54:37.960
you. This was not the original
recording. Apparently, the original lyrics were

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00:54:37.159 --> 00:54:45.920
flat foot fluzy with a floy floy, and the record company ended up objecting

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00:54:45.159 --> 00:54:52.920
to the word fluzy in the title, and they interpreted fluzy as meaning a

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00:54:53.400 --> 00:55:02.679
sexually promiscuous woman or a prostitute,
so they requested that Slim and Slam return

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to the studio to take a shot
at the second recording, which I mentioned

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00:55:09.079 --> 00:55:16.639
took place in February of nineteen thirty
eight, and changed the word from fluzy

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to flugi. Now in the second
part of the title phrase floy floy that

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00:55:24.760 --> 00:55:32.519
was actually a slang for a venereal
disease, but the term was not widely

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00:55:32.920 --> 00:55:39.679
known and it failed, actually failed
to catch the attention of censors, but

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00:55:39.920 --> 00:55:45.599
they did not go back into the
studio for a third time to give it

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00:55:45.679 --> 00:55:50.599
a try. Many folks also think
the song, especially at the start,

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00:55:51.840 --> 00:55:59.320
had a sound that resembled rock and
roll in its earliest stages, flat beat,

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flug, the great slim and slam. And with that, my friends,

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it is now time to turn out
the lights of the Crystal Studio because

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00:56:13.719 --> 00:56:17.440
unfortunately, this week's Make Believe Ballroom
is coming to an end. I will

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00:56:17.480 --> 00:56:22.400
be going out in just a moment
with the chick Web and his Savoy Orchestra

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00:56:22.639 --> 00:56:30.800
with I can't dance with ants in
my pants, and I certainly wouldn't want

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00:56:30.840 --> 00:56:34.159
to be in that position, but
I am in the position to tell you

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00:56:34.360 --> 00:56:37.760
that if you'd like to contact me, I'm Jeff at Make Believe Ballroom Radio

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00:56:37.880 --> 00:56:44.280
dot com. That's Jeff at Make
Believe Ballroom Radio dot com. And I'm

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00:56:44.360 --> 00:56:47.280
so sorry I didn't have the time
to read some of the emails. Sitting

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00:56:47.480 --> 00:56:52.840
on the console here in the studio
but I will play catch up. I

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00:56:52.960 --> 00:57:00.519
promise next week to hear past shows. Please go to www dot make Believe

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00:57:00.559 --> 00:57:06.480
Ballroom podcast dot com, make Believe
Ballroom Podcast dot com, or you could

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00:57:06.519 --> 00:57:12.440
also just go to your favorite podcast
provider. Now as promised to check web

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00:57:12.760 --> 00:57:16.840
and until next week. From the
Crystal Studio, this has been Jeff Bresler.

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00:58:09.440 --> 00:58:14.639
Oh women, let's have a body
and let everybody. Let's off again,

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00:58:14.920 --> 00:58:19.360
and you bring the women you're reading
the women. I'll bring the chin.

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00:58:19.679 --> 00:58:24.639
I'll bring the let's go for a
ride. Ain't going far. You

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00:58:24.800 --> 00:58:30.159
fixed the blowout, and I'll drive
the car. I drive the car on

318
00:58:30.440 --> 00:58:38.280
sad Zus on sus Day, on
side zus, Fama de meeting my mama,

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00:58:38.360 --> 00:58:45.159
Bummy, I can't dann I God
answer my pan. I can't.

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00:58:45.239 --> 01:00:07.320
Then I need God answer the pan
ball. If ee can't dances, got

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01:00:07.400 --> 01:00:14.079
answer in my pant Oh man chick
can dance, He's got answer in his pants.