Aug. 23, 2024

Make Believe Ballroom - 8/23/24 Edition

Show Notes
Transcript

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 -- A Texas and North Carolina Territory Band from the 1930s, how one singers song ended up being another vocalists gold and a satirical musical radio program -- All this and many, many more of the greatest hits of the big band era are played for your musical enjoyment during this episode.

WEBVTT

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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.

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Friend your Dalis.

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Said Bamba.

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Yours.

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Close your eyes and visualize in your solitude. Your favorite

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bands are on this dance and mister Miller, but you're

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in the wood. Its make believe ballroom time. We are

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of sweet romances.

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You make it.

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Come on, Joe last dance.

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Let Hi, folks, I'm Jeff Bresler, 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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in the legendary Steve Allen Alive. Whether you're one of

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my longtime listeners or maybe tuning in for the first

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time today, I invite you to join me for some

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of the greatest jazz and swing hits from the big

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band era. Hello World and Welcome, Welcome, one and all

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into the Make Believe Ballroom, coming to you coast to

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coast and across the Atlantic Ocean on stations like Members

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supported Jazz ninety point one WGMC in Rachatern, New York,

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and on other fine affiliates across the United States and

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in the United Kingdom. Let's quickly get the show underway.

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With two records records we have never played on the

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Make Believe.

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Ball Row.

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Love, Sad.

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Smile.

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That was the Texas Territory band of Frank Tanner and

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his Rhythm Kings with a Bluebird Record recording of a

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number called Texas Teaser, recorded in San Antonio, Texas, October

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the twenty fourth, nineteen thirty six, and that is the

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premiere the first time we ever played Frank Tanner here

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in the ballroom. Tanner and his Rhythm Kings mainly performed

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in dancehalls and nightclubs and different venues in the Lone

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Star State. They had only one recording session in their career,

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that being in nineteen thirty six, in total, releasing only

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seven songs on Bluebird, Texas Teaser being one of them.

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Now I mentioned that Tanner led a territory band. So

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you may be asking what exactly does that mean. Well,

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territory bands were dance bands that played and limited their

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work to specific regions of the United States in the twenties, thirties,

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and forties. Most like Tanner, never had the opportunity to

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ever sign record contracts, although there were many territory bands

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that went on to record a number of records that

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became very popular. Those territory bands eventually becoming very mainstream.

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The territory band typically had eight to twelve musicians, and

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these groups played one nighters, six or seven nights a

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week at different venues like VFW Hall's, ELK, lodges, Lions clubs,

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hotel ballrooms, schools, dance halls as I mentioned, and nightclubs.

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Let's say, as a modern analogy, I guess territory bands

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the best way to describe them. They were like top

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forty cover bands or tribute bands that you hear play

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locally today. Territory bands usually relied on stock arrangements of

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nationally famous bands and their hits, although there were many exceptions.

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Let me play one more territory band that's never been

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heard on the Make Believe Ballroom again on Bluebird records

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a little tune named Let's Get Hot in truck Bob

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Pok and his Orchestra.

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He very.

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Very nas.

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That was Bob Pope and his Orchestra with a tune

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called Let's Get Hot, recorded in Charlotte, North Carolina during

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the twenty first nineteen thirty six. Pope was originally Atlanta

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based and also performed dates in a number of Eastern

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Seaboard Southern states. In February of nineteen thirty six, the

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band left Atlanta for a string of one nighters on

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their way to Charlotte, North Carolina, where they were booked

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to play lunch and dinner sessions at the Hotel Charlotte.

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Once they got to Charlotte, they were received very well

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and within a few days got an offer from WBT,

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the local CBS radio affiliate, to broadcast live from the

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Hotel Charlotte several nights a week. And at that point

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Bob Pope saw much greener pastures in North Carolina than Georgia,

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and he changed the name of his band to Bob

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Pope and his Hotel Charlotte Orchestra. So friends, it was

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my pleasure to bring you to territory bands back to

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back whose music we never ever played here on the

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make believe ballroom. Now a guy whose fame brought him

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into ballrooms across the entire country, that being one Bobby Hackett.

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Singers The Peril.

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That was at the Jazz Band Ball by Bobby Hackett

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and his Orchestra, recorded in New York City, February the sixteenth,

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nineteen thirty eight. Coming up next, a great story as

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to how this next song I Am going to play became.

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A hit.

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On the Please down your satur I'm in a cowboy

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right in the rage. One day Ezy John Long I

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heard him saying it a more peculiar cowboys song.

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It was a ditty he know in the city, or

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Comma Goma dip li, Get along, get hip little dog.

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He's get along better be on your.

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Way, get along, get half little dog hees. He trucked

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them on down the old fair Way, singing his cock

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ca bo get in the strangest way, gonna die, Comma

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dip singing his cowboy song.

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He's just too much. He gotta knocked out Western accents

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with a will on search. He would rease ing mop

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weed Hi.

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He's what you call the swing half breed, singing his

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cock co bo get in a stray Gomma die, gomma di.

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I.

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Get a log, better be on you win you wave,

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get along little log.

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And he dropped him on down the old fair way,

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singing his cot cap booge in the strange just way.

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Comma die, Comma.

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Die, Yep.

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Yip Pip, singing his cowboys songs Yip Bip.

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As he was juggling along, Yep Pip, he sing with

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the hole up that.

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Yip Pip.

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That cat is just too much for singing his cock

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up bog the strangest way.

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Comma Die.

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We just listened to Cow Cow Buggy by the great

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boogie pianist Freddy Slack and his orchestra, with a vocal

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by Ella May Morse. Very interesting story behind this record,

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one that shows that scavenging through the trash, so to speak,

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is not really a bad thing. The country boogie style

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blues song Cow Cow Buggy came to us with music

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that was written by Don Ray and the lyrics were

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penned by Benny Carter and Jeane DePaul Now. The song

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was written expressly for Ella Fitzgerald to perform in the

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nineteen forty two Abin and Costello film Rhydham Cowboy, and

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for whatever production reason, the tune was dropped from the movie.

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So Ellame Morse, through an acquaintance, got hold of a

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production recording of Ella Fitzgerald singing the song. Ella Ma

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Mors then spoke to Don Ray and Freddie Slack and

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they decided to partner on the song and release the

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record through Capitol. Now, the song may have been cut

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from the movie, but it went on to become only

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the second record ever released by Capitol Records and their

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first ever number one hit and million seller. Now, I've

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mentioned in the past when we played LM. Morse vocals

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that she was always a little nervous in the recording studio.

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She ended up recording this song in a single take,

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which she had thought was only a rehearsal. So from

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one Ella that being Fitzgerald, to another Ella, that being

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Lma Morse. The history behind the song cow Boogie. You know,

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I mentioned that the song was the second ever recorded

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by at that time the new label Capitol Records. So

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what was the first song ever released by Capitol.

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Dreams All Around my.

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Deal recall a nighte of Paradise s review out of

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the Blue.

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Look came Stroy over the broad.

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Silverware Road, and in the distance the tangle starts.

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And cold like a feather.

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In summer hot.

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We never once questioned whether.

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I'm not a love to gather? What ever die.

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Boys rolling?

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I see them well them beam shy, and once again.

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You are mine.

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And in the.

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Distance a tangle start.

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Lo like a feather.

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Game summer.

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We never wants question weather, are not of love to

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gatherward ever.

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Died mountain.

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Rolling?

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I see him when the moon beam shone, And once

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again in moon Dreams, you are mon.

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That was moondream sung by Martha Tilton with the Melowares,

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music by Chummy McGregor, lyrics by Johnny Mercer, and that

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was the first record ever released by Capitol Records, and

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Johnny Mercer himself, along with Buddy da Silva and Glen Wallas,

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founded Capital in nineteen forty two. Moondreams was first, and

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that followed by the million seller cow Boogie. Dear friends,

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you are listening to the one, the only, the original

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Make Believe Ballroom, broadcast almost continuously since nineteen thirty five

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and heard today on public and community radio stations across

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the United States as well as in the United Kingdom.

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Great stations such as kf QX in Seattle, affectionately known

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as Racketeer Radio and to reach me, I'm affectionately known

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as Jeff at make Believe Ballroom Radio dot com. That's

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Jeff of make Believe Ballroom Radio dot com. And now

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for all of our listeners at k f q.

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X, I'm just a little Jackie Honor and my.

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Ugo game.

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The gang of mine has in Dlan the eppievilin.

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I have the lamplight on that old corner all name the.

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World name I'm doing things on never.

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D why not they not ugar do thing?

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All the boys are jealous of me.

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Because I'll never take a where the gangle when I

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take my Sugar Dooty.

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I'm a Rodi Saudy as me.

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She's a high hat baby that cheese.

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So I never take a where the gangle when I

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take my sugar Dooty. Every Sunday after nude, we forget

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about our cats, robbin elbow at the risk with.

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A millionaires when I take my sugar Rooty. I'm as risky.

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Now as I can be, cause.

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I never take a where the gang when.

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I take my Sugar Dooty.

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For no, won't take my jugar Doo.

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Team, all the boys and jonas.

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I'm needing all and never take a where the gang goes?

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When I take my sugarho Jee, I'm riding out of

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that team.

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She's a high baby that she some one ever take

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a where the gang goes? When I take my jugar doot.

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Team rubin elbows at the risk without.

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Sugar gang.

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That was the Boswell Sisters singing with the Dorseyat Brothers Orchestra.

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When I take my Sugar to tea, let me play

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another record. Then on the agenda, the story of a

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popular satirical radio program.

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My very good friend, the Milkman says, then I've been

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losing too much sleep.

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He doesn't like the hour.

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He suggests you shouldn't raby.

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Our d my very good friends, the main Man.

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Says that it wouldn't make his burden less if we

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both have the same address. Then he suggests that.

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You should marry Raby.

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Then a very friendly fellow Blue friends.

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All the latest real.

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Estate news, and every day he sends me.

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Blue friends of cottages.

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With country views.

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My very good.

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Friends and names are saying they've been watching little things

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I do, and they believe that I love him. So

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I suggest that you gimen remain.

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I guess I'm all in the real estate.

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From Bili.

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Like a blue president like.

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But I found that own my family good friends indeed

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was saying they watch the.

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Little things I did.

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If nay, indeed, I love you, tom So, I.

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MA the rd aby.

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Fats Waller and his Rhythm, my very good friend, the Milkman.

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Fats Waller, in May of nineteen thirty four put together

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a small band known as Fats Waller and his Rhythm.

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It was six musicians and they, under Fats leadership, recorded

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a voluminous series of records. And if you will bear

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with me, I want to replace the word I just

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used voluminous with a somewhat actual number figure. I'm multitasking

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here in the Crystal studio, So give me a moment

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as I look this up. Okay, between nineteen thirty four

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and nineteen forty two, Fats Waller and his Rhythm recorded

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about an amazing four hundred sides. You know, I think

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my total output of Make Believe Ballroom programs over the

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years certainly tops that four hundred number. But right now

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about two hundred of those shows can be heard anytime

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via podcast. When the Ballroom completes its weekly run on

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the radio, we transfer the shows to podcast form, So

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in addition to hearing the show over the radio on

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stations like Members Supported Jazz ninety point one, you can

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hear repeat broadcasts by going to www. Dot Makebelie Ballroom

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Podcast dot com. That's Makebelie Ballroom Podcast dot com. Or

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you can visit your favorite podcast platform, whether that be Apple, iHeartRadio, Spotify,

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I tune In. We are on all of them, and

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as I just mentioned a moment ago, to reach me,

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I'm Jeff at MakeBelieve Ballroom Radio dot com. Jeff at

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MakeBelieve Ballroom Radio dot com, and I might have time

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a little later on in the show to read one

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or two emails we have received over the past week. Now,

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I mentioned before Fats that I wanted to talk to

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you about a very popular old time radio satirical program.

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You know, I don't like to stay away from music

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very long here on the Ballroom, and I did so

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with some talk about Fats Waller and to Make Believe

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Ballroom podcasts. So let me play this then, the story

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of a satirical radio programmer can manner me Benny Goodman

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and his orchestra with Sugarfoot Stomp. The Chamber Music Society

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of Lower Basin Street was a music variety program which

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began on NBC Radio in nineteen forty. There was an

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announcer who some of you might have had the opportunity

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to actually hear live on the radio, Milton Cross. That

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announcer was best known as the voice of the Metropolitan Opera,

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hosting its Saturday afternoon radio broadcast for forty three years,

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from the time of those broadcasts inception in nineteen thirty

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one until Milton's death in nineteen seventy five. Now, Milton

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Cross announced in a highly dignified style, a style befitting

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of many of the highbrows who listened to symphony broadcasts

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on NBC each week. So the program, The Chamber Music

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Society of Lower Basin Street was created and hosted by

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NBC staff announcer Gene Hamilton. He created the show as

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a tongue in cheek satire of the symphonic broadcasts that

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were hosted by Milton Cross. Instead of Cross's dignified commentary

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introducing each orchestra selection, Gene Hamilton changed his persona to

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doctor Geno Hamilton, and he'd introduce a traditional hot jazz,

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Dixie Land or swing melody, peppering his remarks with various

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slang to counteract Milton Cross. The music was performed by

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two house bands. Henry Levine, who, by the way, was

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a form member of the original Dixieland Jazz Band. He

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led an eight member Dixieland combo and Paul Laval led

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a ten piece woodwind ensemble. On the radio show, each

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broadcast featured a vocalist. As a matter of fact, Dinah

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Shore was discovered on the Basin Street program. Also serving

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as lead vocalists on the show Diane Courtney, Dodie O'Neill,

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Dixie Mason, Linda Keene, Loulie, Gene Norman, and the Great

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Lena Horn. So why don't I play a selection or

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two from that program from nineteen forty two, Way Down

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Yonder in New Orleans, Linda Keane and the Dixieland Combo

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under the direction of Henry Levine.

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Manna change change.

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The the problem.

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Change Way down Yonder and New Orleans and blend of

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dream is seen.

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It's God norvied and that's what I mean.

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We all babies with flashing eyes laser represent as of

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sky stop.

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That's not another place so fair for mouths miles stop.

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I bet you like fuel lingo there little far with

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this music that sweeten hat to that beautiful spot.

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We will take you to.

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New Orleans, way down yonder in New Orleans and uh

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one more. Here is Lena Horn with Saint Louis Blues.

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I hate to see that evening sun go down. I

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hate to see that evening sun go.

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Down, cause my baby has left.

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This town forever.

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If I'm feeling tomorrow just like a feel to day.

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If I'm feeling tomorrow like I feel today, I've passed

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my trunk and make my get away. Saint Louis Warm.

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With all her dam rings, stole that man of mine

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by hurry from string.

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If it wasn't for power and her bowed hand, that

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man I.

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Love wouldn't have gone nowhere, no where, Doctor Saint Louis.

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Blue, just as blue as I can be. Lord, that

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man's got a hot like a rock cast in the speed,

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or else he wouldn't have gone so far from me.

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Gee.

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I love that man like a fool boy, Love his

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home shop like a Kentucky colonel, Love his rocking r.

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The love, the math, the.

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00:45:28.400 --> 00:45:36.639
Jamaa Saint Louis Blues, Lena Horn vocal music from the

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Dixieland Jazz Group, conducted by Henry Levine and broadcast on

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a nineteen forty one NBC Chamber Music Society of Lower

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Basin Street show. In a moment, friends an email from

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a listener, then.

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Let me.

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Len didn't then.

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Then and then men and sent.

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M D.

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And nothing.

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That was the Bud Freeman Trio with three little words

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and now a little more than three words for one

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of our listeners via an email, and the email reads, Hi, Jeff,

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always glad to hear a new episode of The Make

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00:49:09.519 --> 00:49:13.840
Believe Ballroom on Jazz ninety point one. I remember a

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few years back you did a set on several Depression

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era songs like Brother, can You Spare a Dime? I

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00:49:22.239 --> 00:49:25.639
know the music of those songs really don't fit into

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your big band sounds of the thirties and forties, but

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I find that music truly Americana. Can you perhaps play

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your favorite Depression era selection on one of your upcoming shows.

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I am actually one of those old time listeners that

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actually heard Martin Block hosts the show in New York

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when I was very young. Thanks for all you do

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00:49:52.840 --> 00:49:57.559
to keep this music going, there are really no shows

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that play it anymore. And that's signed Andy Lorenzo. Well, Andy,

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thanks for that email, and I will indeed honor your request.

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As the lyric went in the Broadway musical Annie, I

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know the depressions depressing, and obviously the Great Depression was

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traumatic to millions of Americans and set the country back

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for ten years. And well, interestingly enough, those ten years

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of the Depression nineteen twenty nine to nineteen thirty nine

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produced some of the greatest big band music ever written

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and performed. A few Depression era songs were very uplifting.

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My favorite was a solo effort written by Walter Donaldson

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and August Kahn. Kate Smith recorded this one for Decca

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Records in nineteen thirty four, and Andy Lorenzo, this one's

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for you.

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I'll have a golden castle, grand and tall, with eighteen

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butlers standing.

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In the hall.

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And Walter Disney paintings on the ball. When my ship

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comes in.

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I'll leave the.

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Choice of aucos up to you. And if you think

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00:51:51.960 --> 00:51:56.679
a big Rolls Royce will do, I think I'll play

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00:51:56.760 --> 00:52:02.840
it safe an order to when my ship comes in.

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00:52:05.119 --> 00:52:15.639
Bye by Barnum and Bailey and right next door. They'll

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00:52:15.920 --> 00:52:22.280
give two performances daily for the kids who never saw

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00:52:22.639 --> 00:52:23.960
show before.

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00:52:25.639 --> 00:52:31.039
In golden chairs, will step our tea for two. I'll

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00:52:31.119 --> 00:52:35.880
have Jack Miller here to play for you. I'll have

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00:52:36.119 --> 00:52:45.599
been Crosbie singing Boo. When my ship comes in, I'll

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00:52:45.679 --> 00:52:51.719
bui out every ice cream factory. All the kids can

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