Aug. 30, 2024

Make Believe Ballroom - 8/30/24 Edition

Show Notes
Transcript

Join us for this weeks MAKE BELIEVE BALLROOM, 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 band with a most interesting name, a famous novelty song’s story, some listeners requests, a bandleader with a double life, original versions of a few favorites, -- plus many, many more of the greatest hits of the big band era are played for your musical enjoyment during this episode.

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It's make believe ballroom time. 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. It's

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no time to friend your Dalis said Bamba.

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Yours.

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Close your eyes and visual lize in your solitude. Your

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favorite bands are on List Dance and Mister Miller.

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But you're in the mood.

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It's 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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Come on, Joe Last, Dat.

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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 tradition

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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 one of my

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longtime listeners or maybe tuning in for the first time today,

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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 welcome, Welcome, one and all into the

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make Believe ballroom, coming to you coast to coast and

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across the Atlantic Ocean on station's like members supported Jazz

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ninety point one WGMC in Rochester, New York and on

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other fine affiliates across the US and in the UK.

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Let me fire up the record player with a band.

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I am ninety nine point nine. I laid a few

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more nines to that percent. Sure you never heard of

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I'm talking about the legendary Ray Beagle and his hounds

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of music.

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I know you talk about the fucking when the packing

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is new spy.

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That's the chance that you should do.

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You gotta get away low to the foot, and if

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you pick, aren't you gonna pick someone?

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Oh?

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You can't pay it to the front and to the

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fire tude the back, Well loot old Jim, he's taken

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on his back.

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Second to me is a lot of fun.

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Well you pass one and will say one. Shall I

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beg it to the east, or shout I beg.

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It through the win? Oh?

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Bet Betty, shill you mix the best with old day?

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Or well, hey, hey, what's.

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The matter with the begging off the forcat to.

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That was Ray Beagle and his Hounds of Music with Pekin,

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recorded in nineteen thirty seven. Now, while Beagle and his

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Hounds are not a household name, and certainly warn't during

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the big band era, it's a bandleader who also sang

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the vocal was indeed very very well known during that

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period of time. Lou Raderman, the leader of Ray Beagle

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and his Hounds, who was indeed Ray Beagle on the record.

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Career wise, Lou Raderman was an accomplished a concert master

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and violinist. He started performing back in the nineteen twenties.

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He was the longtime lead violinist and a concert master

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for the Victor Studio ORCHESTRONI went on to become the

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concert master of the MGM Studio Orchestra for an extended

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period of time from the late nineteen thirties all the

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way up. So I think the mid nineteen sixties Lou

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Raderman aka Ray Beagle to get things started today on

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the make Bulie Ballroom, barking across the airwaves from the

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Crystal Studio in New York, you would have to say

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that Ray Beagle and his Hounds was a band with

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a novelty name. So now, how about if I play

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a novelty song, a song that was written in nineteen

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twenty three but performed here by Louis Prima in the

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late nineteen forties.

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We have no bananas.

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We have no bananas today.

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We've got string beans and onions and big juicy lemons

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and all kinds.

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Of fruit in saane.

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We've got an old fashion tomato, a long Island potato. Yeah,

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we have no bananas.

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We have no bananas today. There's a fruit man on our.

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Street whose name is mister Pete, and he keeps good

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things to eat. But you should hear him speak. When

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you ask him anything. He never answers no. He just

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yess you to death and any texture though. We know

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got at the banana.

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We know got at the banana today.

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Got a little beans and the bigger beans, and the

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red the beans, and are white the beans.

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And all kinds of beans insane. We got the old

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fashioned salami.

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We even got it.

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The Brooklyn pastrami we know got at the banana.

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We know got at the banana today.

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Business got so good with him. He rode home to say,

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send for Squally, Nick and Jim, I need help right away.

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When he got them in the store, there was fun.

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You bet someone asked for bananas, and then the whole quantent.

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We have no ba.

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We have no bananas today the cats and celery, but

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we got no bananas today.

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Who asked it for bananas?

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Anyway?

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Who asked you?

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I only want to have to up sandwich better than bananas,

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I always.

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Say, en, we have no bananas.

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We have bas.

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Louis Prima and his orchestra with one of the great

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novelty songs of all time. Yes we have no bananas.

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And certainly if you know me well, you know a

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great song certainly comes with a great story. And yes

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we have no bananas, no exception to that rule. Frank

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Silver and Irvin Cone they wrote and published the song

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on March the twenty third, nineteen twenty three. The tune

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almost immediately became a major hit. It placed number one

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in record sales for five weeks in the spring of

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nineteen twenty three. So how did the lyrics actually come

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about to yes we have no bananas? Well, Frank Silver,

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he had an orchestra and that band was playing a

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string of dates at a Long Island hotel, and one

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day near the hotel, Frank Silver stopped at a fruit

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stand that was owned by a Greek gentleman, and that

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man began every sentence with the word yes. So Frank

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Frank Silver was quoted as saying, quote unquote, the jingle

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of his idiom haunted me. And also my friend Cone,

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I asked for a banana, and he said, yes, we

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have no bananas. Finally I wrote this verse and Cone

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fitted it with the tune close quote. Now, that was cute,

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and you might think it's the end of the story

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about yes we have no bananas, but certainly not. The

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song actually went on to become the theme of the

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Outdoor Relief protests in Belfast in nineteen thirty two. Now,

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these protests were a unique example of a booth Protestants

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and Catholics in Northern Ireland joining together for a cause,

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and the song was used because it was one of

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the few non sectarian songs that both communities knew at

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the time. The Outdoor Relief protests, if you would like

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to know, they were a campaign that was waged in

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Belfast by unemployed workers and their supporters for an improvement

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in welfare benefits for those not on the job. So

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a novelty song loved by millions also became a socially

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relevant human rights tune. Yes we have no bananas, and

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I used the Louis Prima version. As many of you

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may know, Louis performed over his career many now t

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type songs. But did you know that, uh Prima, he

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was the first ever to write and record this song.

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Now that you've discovered that the music goes run and run,

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you forgot to remember you've got to swing in this

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man's town. So sing sing, sing sing. Everybody start to sing,

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La la who. Now you're singing with a swing, sing

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sing sing sing. Everybody start to sing.

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La la fool.

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Now you're singing with a swing.

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When the music goes around, everybody goes down. But here's

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something you should know for a baby, Oh sing sing

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sing sing. Everybody start to sing, La la who. Now

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you're singing with a swing, sing sing sing sing. Everybody

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start to sing, na who.

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Now you're singing with a swing.

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Sing sing sing sing.

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Everybody start to sing, la la who.

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Now you're singing with a swing.

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When the music goes around, everybody goes down.

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But here's something you should.

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Know already old sing sing sing sing, everybody is thought

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to sing.

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Now you singing with the.

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Swing Nay what Baby everybody sing?

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Sing away from that was sing, Sing, Sing, the original

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seventy eight rpm sing that was issued on Brunswick, written

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and performed by Louis Prima and his New Orleans Gang

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with a Louis Prima vocal, recorded February the twenty eighth,

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nineteen thirty six. So this is how Prima's swing classic

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composition sounded the very first time around, and many of

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us know was just sixteen months later that Benny Goodman

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recorded his famous eight and a half minute Krupa rhythm

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version for a Victor Records, and certainly the show piece

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tune performed at the legendary Benny Goodman Carnegie Hall Concert

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in January of nineteen thirty eight, sing Sing, Sing, why

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don't I now play a little kroupa? Then a few

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requests from listeners.

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Eying me.

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Ing it.

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Be mething.

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O the world?

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Anything anything.

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You need me?

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Gene Krupa and his Orchestra with Grandfather's Clock, recorded April fourteenth,

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nineteen thirty eight, in New York City, a popular tune

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that many know the lyrics of and believe it or not,

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Grandfather's Clock, also known to many as My Grandfather's Clock

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was a song written by Henry clay Work way way

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back in eighteen seventy six. And we won't have to

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go way way back to the late eighteen hundreds to

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find some tunes that were requested by listeners. And finally, finally, finally,

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a listener named Bill Norris from Birmington Hills, Michigan. He

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actually took the plunge and left an audio request on

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make Believe Ballroom podcast dot com. I am so happy

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Bill that you actually broke the ice. We installed a

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module on MakeBelieve Ballroom podcast dot com that allows folks

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and listeners to leave an audio request, and you, Bill,

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were the first, and so it's my pleasure to play

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your request.

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Oh, Jeff, this is Bill Murris listening on podcast in

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Birmington Hills, Michigan.

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Can you please play.

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Laughing on the Outside by Sammy Kay with vocals by

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Billy Williams.

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Thank you.

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I'm laughing on the outside.

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To bring us these words we hear from Billy Williams.

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The crowd sees me out dancing carefree and romancing, happy

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with my someone new. I'm laughing on the outside, crying

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on the inside because I'm still in love with you.

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They see me night in daytime, having such a gay time.

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They don't know what I go through. I'm laughing on

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the outside, crying on the inside because I'm still in

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love with you.

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No one knows.

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It's just a poles pretending. I'm glad we're a pall.

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And when I cry, my eyes are dry. The teas

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are in my hall, My darling, can't we make a

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ever since our breaker?

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Make believe is all I do.

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I'm laughing on the outside, crying on the inside because

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I'm still in love with you.

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Laughing on the outside, crying on the inside. Swing and

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Sway with Sammy Kay vocal by Billy Williams, recorded in

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nineteen forty six. Sammy Kay came up with the tagline

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swing and Sway with Sammy Kay and the expression springs

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from his first hit single in nineteen thirty seven, a

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record named Swing and Sway. But as Louis Prima was

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the first in the world to introduce sing, Sing, Sing,

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did you know my friend Bill that Sammy Kay was

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the first in the world to introduce this song?

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On Blue Berried Girl, a beautiful picture in these words by.

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Tommy Ryan, I found my trimd on Blueberry hell on

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Blueberry Here.

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When I found you, the moon stood stand on Blueberry

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and lingered until my dreams came true. The wind in

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the willow play love, sweet mellow.

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But all of those bars we made were.

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Never too be the weir apoll You're part of me still,

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for you were my trill on Blueberry Hill.

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On Victor Records. The first time ever recorded Blueberry Hill

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by Swing and Sway with Sammy Kay vocal by Tommy Ryan,

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recorded in New York City, made the thirty first nineteen forty.

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The song peaked at number two on the Weekly or

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Hit Parade Radio survey, but it was quickly recorded only

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two weeks later after that Kay release by Glenn Miller

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with his version also peaked at number two. But as

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we all know, the most popular version of the song

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Blueberry Hill was recorded during the rock and roll era

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by the great Fats Domino. And why don't we now

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play one more request from a listener and again thanks

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Bill Norris from Michigan for sending us that audio request.

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And now on to a good old fashioned email from

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Nancy and Iron Norman who listen on k p o

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V in Oregon. And Nancy and Ira have requested a

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song that Glenn Miller recorded. Nay, that was Glenn Miller

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and his orchestra with Sliphorn Jive, recorded in New York

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City on June the second, nineteen thirty nine. The song

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was composed and arranged by Eddie Durham. And thinking back,

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Eddie was actually the first to pioneer the use of

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an electric guitar in jazz music. And as I am speaking,

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I am going to Wikipedia because I have a suspicion

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about the birthplace of Eddie Durham. I think we currently

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have a community radio affiliate, and yes we do, Eddie

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was born and how I remember this is beyond me

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in San Marcus, Texas, home of KZSM Radio, an affiliate

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of the Make Believe Ballroom. So thanks Nancy and Ira

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Norman for requesting that tune a Glenn millertoon, a great

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record that is not in the usual repertoire of Miller

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music that we play here on the Ballroom. And you know,

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I'm actually very interested to know why the Normans chose

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that specific song, and I'm going to email them later

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to find out. And please email me with your request

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for a favorite song to Jeff at Make Believe Ballroom.

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

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or as Bill did leave an audio request on Make

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Believe Ballroom podcast, make Believe Ballroom Podcast dot Com. Just

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go to the microphone in the bottom right hand corner

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of the site and whether you are listening to us

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today on one of our many community, public or university

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radio stations, are enjoying the show in podcast form, This

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is the one, the only, the original Make Believe Ballroom

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broadcasting almost continuously since nineteen thirty five, and now broadcasting

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on a new affiliate that we are delighted to welcome

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into the ballroom, WZQR one hundred point seven FM, broadcasting

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out of Pine Island, Florida, one of the islands, or

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should I say it's more of a barrier island off

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the Gulf coast within the Fort Myer Cape Carl Areas.

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So welcome aboard w ZQR. And now, as I mentioned

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during the program, Make Believe Ballroom is heard from coast

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to coast and across the Pond in the United Kingdom.

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But I often overload that we have listeners in Australia,

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and one of our Australian super listeners is Troy Workman,

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and Troy dropped me an email last week that read,

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good day, Jeff, very Australian. I hope you are doing well.

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Great show last week, particularly enjoyed the talk of the

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President's birthday ball Best wishes Troy from Sydney, Australia. Well,

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thank you Troy for being a loyal listener of the

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Make Belie Ballroom and to reward you here dedication to

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the show. How about nineteen thirty's big band music Australian style.

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Nothing Do Nothing, Anything, Anything.

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Nothing.

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Recorded in Sydney, Australia, November the twenty second, nineteen thirty seven,

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Dudley Cantrell and his Grace Grenadiers. The tune was Harlem Heat.

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And you know I also liked the version of Harlem

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Heat that Will Hudson and his Orchestra did. So let

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me move from one computer to the next here to

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our playlist computer, and I think, now, why not play

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not Harlem Heat but another record from Will Hudson.

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M Speed.

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Never like that?

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Did listen?

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She Will Hudson and his Orchestra recorded on Decca Records

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in New York City, September the nineteenth, nineteen forty with

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a little tune named hya Mister Chips Now on the

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make believe ballroom, how about some jesse Stone.

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This town is full of guys who think they're mighty

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wise just because they know a thing or two. As

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you will meet them night and day, strolling up and

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down Broadway telling of the wonders they can do. There's

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corn min and there's boosters. There's cart min and crapshooters.

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They congregate around the metropole. They wear flashy ties and collars,

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but where they get their dollars. They've all got that

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old ace stuck down in the hole. There's some of

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them right to their ole folks for gone. That's their

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ace in the hole.

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And then there's others who have friends in the old Tenderloin.

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That's their old ace in the hole.

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They tell you of trips that they're going to take

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from Florida to the ice bound North Hole, but their

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name would be mud like among plagues that if they

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lost that.

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Old ace in the hole.

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They tell you of drips that they're going to take

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from Florida to the ice bound North Hole, but their

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name would be mud.

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Like A punk plays stud if they lost that old

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ace in the hole. Yes, they can walk big, they

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can talk big, they can act that big shot role.

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But it all depends on the Ace in the Hole.

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That was Jesse Stone with a great tune titled an

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Ace in the Hole, recorded on Variety Records back in

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nineteen thirty seven. You know, I enjoyed that Stone tuned.

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So how about one more from Jesse than how he

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led a double life?

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Think Anything Anything.

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Eying, also from Variety Records, Windstorm Jesse Stone and his Orchestra,

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recorded in New York City, February twenty sixth, nineteen thirty seven.

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Certainly dug the accordion in that one, and the name

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of the tune, wind Storm very apropos. The arrangement did

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sound like you were actually walking down the street or

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riding in your car during one. Now I said that

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Jesse Stone led a double life. From the records I

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just played, you can hear for yourself that he was

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an underrated band leader, although he was revered by so

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many in the industry. So many like the likes of

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Duke Ellington. But Jesse Stone, you see, his music went

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beyond leading a big band. He was also an influential songwriter.

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And here is where the double life comes in. Jesse

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used the pseudonym of both Charles Calhoun and Chuck Calhoun,

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and as Charles Calhoun, he composed his most endearing hit,

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Jesse Stone. As Calhoun was said to have done more

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to develop the basic rock and roll sound than anybody else.

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So here is something I rarely do on the Make

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Believe Ballroom, That is to leave the premises and head

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down to the malt shop, put a coin in the

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jukebox and play this Calhoun mega hit.

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Get Up Man was your facing hand. Get up Man

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was your facing hand. Where you get in that kitchen

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makes nord with pots and vand old treasure sun dom

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shine through where you were old treasure sun jumps shining through.

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I can't believe that all the mess belongs to you.

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I believe you.

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I believe the old you devil. Where all hour fass

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about money?

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Go?

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I said, shake.

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Roll and road, shake, rolling road, shake, ralling road, shake,

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rolling road.

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00:50:48.480 --> 00:50:52.039
There you won't do right, save your dog go so

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00:50:53.400 --> 00:51:15.800
h blood. I like the one I can't keep it

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00:51:15.880 --> 00:51:20.519
there to sea food stark. I like the one I

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00:51:20.960 --> 00:51:26.360
can't keep in there to seafood stock. But I can

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00:51:26.440 --> 00:51:29.559
look at you tell you ain't no child, no more.

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00:51:32.199 --> 00:51:40.519
I jack right road, Shake Rally road, Shake Rally Road,

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Shake Rally road.

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They won't do right.

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Shave your dog one soul. I old well way down

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00:51:53.719 --> 00:52:03.840
on with me hed a way out. You made me

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00:52:03.960 --> 00:52:09.800
roll by.

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00:52:09.840 --> 00:52:21.880
The shack n Roll, Shack Rock.

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00:52:22.320 --> 00:52:23.960
Where you own knew nunning.

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Save your Dog Soup.

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00:52:31.400 --> 00:52:36.400