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.

WEBVTT

1
00:00:12.679 --> 00:00:18.320
It's make believe ballroom time. Put all your cares away.

2
00:00:20.239 --> 00:00:24.160
All the bands are here to bring good cheer your way.

3
00:00:26.039 --> 00:00:33.840
It's make believe ballroom time and free to everyone. It's

4
00:00:33.920 --> 00:00:37.799
no time to friend your Dalis said Bamba.

5
00:00:40.280 --> 00:00:40.679
Yours.

6
00:00:40.799 --> 00:00:47.320
Close your eyes and visual lize in your solitude. Your

7
00:00:47.359 --> 00:00:51.320
favorite bands are on List Dance and Mister Miller.

8
00:00:51.439 --> 00:00:52.479
But you're in the mood.

9
00:00:52.560 --> 00:00:55.039
It's make believe ballroom time.

10
00:00:55.960 --> 00:00:59.159
We are of sweet romance.

11
00:01:00.159 --> 00:01:01.079
As you make it.

12
00:01:02.240 --> 00:01:04.560
Come on, Joe Last, Dat.

13
00:01:04.400 --> 00:01:09.319
Last, Hi, folks, I'm Jeff Presler, turning on the lights

14
00:01:09.319 --> 00:01:12.040
of the make Believe Ballroom and welcoming you into my

15
00:01:12.159 --> 00:01:16.120
Crystal studio for another hour of the greatest swing, jazz

16
00:01:16.200 --> 00:01:19.760
and big band hits of the nineteen thirties and nineteen forties.

17
00:01:20.359 --> 00:01:23.040
I'm hosting the show to keep the music in tradition

18
00:01:23.200 --> 00:01:27.760
of past hosts Martin block Al, Jarvis William B. Williams,

19
00:01:27.760 --> 00:01:31.400
and the legendary Steve Allen alive. Whether one of my

20
00:01:31.560 --> 00:01:35.120
longtime listeners or maybe tuning in for the first time today,

21
00:01:35.599 --> 00:01:37.560
I invite you to join me for some of the

22
00:01:37.599 --> 00:01:40.840
greatest jazz and swing hits from the big band era.

23
00:01:42.680 --> 00:01:46.319
Hello World and welcome, Welcome, one and all into the

24
00:01:46.359 --> 00:01:49.239
make Believe ballroom, coming to you coast to coast and

25
00:01:49.280 --> 00:01:53.319
across the Atlantic Ocean on station's like members supported Jazz

26
00:01:53.400 --> 00:01:58.079
ninety point one WGMC in Rochester, New York and on

27
00:01:58.200 --> 00:02:02.000
other fine affiliates across the US and in the UK.

28
00:02:03.239 --> 00:02:06.159
Let me fire up the record player with a band.

29
00:02:06.480 --> 00:02:10.319
I am ninety nine point nine. I laid a few

30
00:02:10.319 --> 00:02:13.960
more nines to that percent. Sure you never heard of

31
00:02:14.599 --> 00:02:19.479
I'm talking about the legendary Ray Beagle and his hounds

32
00:02:19.680 --> 00:02:20.360
of music.

33
00:02:35.840 --> 00:02:38.479
I know you talk about the fucking when the packing

34
00:02:38.599 --> 00:02:39.879
is new spy.

35
00:02:40.080 --> 00:02:42.560
That's the chance that you should do.

36
00:02:42.599 --> 00:02:46.319
You gotta get away low to the foot, and if

37
00:02:46.360 --> 00:02:49.280
you pick, aren't you gonna pick someone?

38
00:02:49.280 --> 00:02:49.439
Oh?

39
00:02:49.520 --> 00:02:51.520
You can't pay it to the front and to the

40
00:02:51.599 --> 00:02:55.240
fire tude the back, Well loot old Jim, he's taken

41
00:02:55.280 --> 00:02:55.879
on his back.

42
00:02:56.719 --> 00:02:59.120
Second to me is a lot of fun.

43
00:02:59.520 --> 00:03:03.360
Well you pass one and will say one. Shall I

44
00:03:03.400 --> 00:03:05.520
beg it to the east, or shout I beg.

45
00:03:05.319 --> 00:03:06.639
It through the win? Oh?

46
00:03:06.840 --> 00:03:11.039
Bet Betty, shill you mix the best with old day?

47
00:03:11.360 --> 00:03:14.439
Or well, hey, hey, what's.

48
00:03:14.240 --> 00:04:36.279
The matter with the begging off the forcat to.

49
00:05:24.839 --> 00:05:28.000
That was Ray Beagle and his Hounds of Music with Pekin,

50
00:05:28.360 --> 00:05:33.279
recorded in nineteen thirty seven. Now, while Beagle and his

51
00:05:33.560 --> 00:05:37.399
Hounds are not a household name, and certainly warn't during

52
00:05:37.439 --> 00:05:42.040
the big band era, it's a bandleader who also sang

53
00:05:42.079 --> 00:05:47.079
the vocal was indeed very very well known during that

54
00:05:47.319 --> 00:05:51.319
period of time. Lou Raderman, the leader of Ray Beagle

55
00:05:51.399 --> 00:05:55.399
and his Hounds, who was indeed Ray Beagle on the record.

56
00:05:56.120 --> 00:06:01.480
Career wise, Lou Raderman was an accomplished a concert master

57
00:06:01.600 --> 00:06:05.959
and violinist. He started performing back in the nineteen twenties.

58
00:06:06.519 --> 00:06:11.319
He was the longtime lead violinist and a concert master

59
00:06:11.680 --> 00:06:15.560
for the Victor Studio ORCHESTRONI went on to become the

60
00:06:15.759 --> 00:06:20.879
concert master of the MGM Studio Orchestra for an extended

61
00:06:20.920 --> 00:06:24.240
period of time from the late nineteen thirties all the

62
00:06:24.279 --> 00:06:28.480
way up. So I think the mid nineteen sixties Lou

63
00:06:28.720 --> 00:06:32.680
Raderman aka Ray Beagle to get things started today on

64
00:06:32.759 --> 00:06:36.560
the make Bulie Ballroom, barking across the airwaves from the

65
00:06:36.600 --> 00:06:41.160
Crystal Studio in New York, you would have to say

66
00:06:42.040 --> 00:06:45.759
that Ray Beagle and his Hounds was a band with

67
00:06:45.879 --> 00:06:49.519
a novelty name. So now, how about if I play

68
00:06:49.519 --> 00:06:52.680
a novelty song, a song that was written in nineteen

69
00:06:52.759 --> 00:06:56.800
twenty three but performed here by Louis Prima in the

70
00:06:56.879 --> 00:06:58.439
late nineteen forties.

71
00:07:05.040 --> 00:07:07.399
We have no bananas.

72
00:07:08.560 --> 00:07:12.240
We have no bananas today.

73
00:07:12.720 --> 00:07:17.279
We've got string beans and onions and big juicy lemons

74
00:07:17.399 --> 00:07:19.399
and all kinds.

75
00:07:19.040 --> 00:07:20.199
Of fruit in saane.

76
00:07:21.680 --> 00:07:31.519
We've got an old fashion tomato, a long Island potato. Yeah,

77
00:07:32.160 --> 00:07:34.839
we have no bananas.

78
00:07:35.600 --> 00:07:46.680
We have no bananas today. There's a fruit man on our.

79
00:07:46.600 --> 00:07:50.680
Street whose name is mister Pete, and he keeps good

80
00:07:50.759 --> 00:07:54.279
things to eat. But you should hear him speak. When

81
00:07:54.319 --> 00:07:59.040
you ask him anything. He never answers no. He just

82
00:07:59.199 --> 00:08:04.079
yess you to death and any texture though. We know

83
00:08:04.360 --> 00:08:05.800
got at the banana.

84
00:08:07.480 --> 00:08:09.920
We know got at the banana today.

85
00:08:11.720 --> 00:08:14.319
Got a little beans and the bigger beans, and the

86
00:08:14.399 --> 00:08:16.759
red the beans, and are white the beans.

87
00:08:16.439 --> 00:08:21.600
And all kinds of beans insane. We got the old

88
00:08:22.399 --> 00:08:23.920
fashioned salami.

89
00:08:26.040 --> 00:08:26.839
We even got it.

90
00:08:26.920 --> 00:08:33.000
The Brooklyn pastrami we know got at the banana.

91
00:08:34.639 --> 00:09:00.200
We know got at the banana today.

92
00:09:02.240 --> 00:09:06.240
Business got so good with him. He rode home to say,

93
00:09:06.679 --> 00:09:10.240
send for Squally, Nick and Jim, I need help right away.

94
00:09:11.320 --> 00:09:14.399
When he got them in the store, there was fun.

95
00:09:14.440 --> 00:09:20.080
You bet someone asked for bananas, and then the whole quantent.

96
00:09:21.399 --> 00:09:23.919
We have no ba.

97
00:09:24.759 --> 00:09:33.960
We have no bananas today the cats and celery, but

98
00:09:34.159 --> 00:09:36.600
we got no bananas today.

99
00:09:37.440 --> 00:09:38.879
Who asked it for bananas?

100
00:09:39.080 --> 00:09:39.559
Anyway?

101
00:09:39.960 --> 00:09:40.559
Who asked you?

102
00:09:40.679 --> 00:09:44.279
I only want to have to up sandwich better than bananas,

103
00:09:44.440 --> 00:09:45.279
I always.

104
00:09:45.000 --> 00:09:50.639
Say, en, we have no bananas.

105
00:09:51.399 --> 00:09:54.120
We have bas.

106
00:10:00.799 --> 00:10:03.639
Louis Prima and his orchestra with one of the great

107
00:10:04.320 --> 00:10:09.279
novelty songs of all time. Yes we have no bananas.

108
00:10:09.960 --> 00:10:12.639
And certainly if you know me well, you know a

109
00:10:12.759 --> 00:10:16.679
great song certainly comes with a great story. And yes

110
00:10:16.720 --> 00:10:21.759
we have no bananas, no exception to that rule. Frank

111
00:10:21.919 --> 00:10:26.120
Silver and Irvin Cone they wrote and published the song

112
00:10:26.240 --> 00:10:31.120
on March the twenty third, nineteen twenty three. The tune

113
00:10:31.120 --> 00:10:34.799
almost immediately became a major hit. It placed number one

114
00:10:34.840 --> 00:10:39.200
in record sales for five weeks in the spring of

115
00:10:39.320 --> 00:10:44.120
nineteen twenty three. So how did the lyrics actually come

116
00:10:44.159 --> 00:10:49.000
about to yes we have no bananas? Well, Frank Silver,

117
00:10:49.799 --> 00:10:54.279
he had an orchestra and that band was playing a

118
00:10:54.320 --> 00:10:58.879
string of dates at a Long Island hotel, and one

119
00:10:58.960 --> 00:11:03.200
day near the hotel, Frank Silver stopped at a fruit

120
00:11:03.279 --> 00:11:07.919
stand that was owned by a Greek gentleman, and that

121
00:11:08.120 --> 00:11:13.200
man began every sentence with the word yes. So Frank

122
00:11:13.519 --> 00:11:19.039
Frank Silver was quoted as saying, quote unquote, the jingle

123
00:11:19.320 --> 00:11:23.480
of his idiom haunted me. And also my friend Cone,

124
00:11:24.000 --> 00:11:26.840
I asked for a banana, and he said, yes, we

125
00:11:26.919 --> 00:11:32.120
have no bananas. Finally I wrote this verse and Cone

126
00:11:32.240 --> 00:11:37.120
fitted it with the tune close quote. Now, that was cute,

127
00:11:37.200 --> 00:11:40.440
and you might think it's the end of the story

128
00:11:40.600 --> 00:11:45.120
about yes we have no bananas, but certainly not. The

129
00:11:45.600 --> 00:11:49.639
song actually went on to become the theme of the

130
00:11:49.960 --> 00:11:55.759
Outdoor Relief protests in Belfast in nineteen thirty two. Now,

131
00:11:55.799 --> 00:12:00.960
these protests were a unique example of a booth Protestants

132
00:12:01.039 --> 00:12:07.159
and Catholics in Northern Ireland joining together for a cause,

133
00:12:07.279 --> 00:12:10.799
and the song was used because it was one of

134
00:12:10.840 --> 00:12:15.279
the few non sectarian songs that both communities knew at

135
00:12:15.320 --> 00:12:20.840
the time. The Outdoor Relief protests, if you would like

136
00:12:20.919 --> 00:12:26.399
to know, they were a campaign that was waged in

137
00:12:26.600 --> 00:12:33.039
Belfast by unemployed workers and their supporters for an improvement

138
00:12:33.200 --> 00:12:38.039
in welfare benefits for those not on the job. So

139
00:12:38.559 --> 00:12:42.679
a novelty song loved by millions also became a socially

140
00:12:43.519 --> 00:12:50.320
relevant human rights tune. Yes we have no bananas, and

141
00:12:50.440 --> 00:12:55.279
I used the Louis Prima version. As many of you

142
00:12:55.440 --> 00:13:00.480
may know, Louis performed over his career many now t

143
00:13:00.480 --> 00:13:04.679
type songs. But did you know that, uh Prima, he

144
00:13:04.840 --> 00:13:09.159
was the first ever to write and record this song.

145
00:13:56.159 --> 00:13:59.759
Now that you've discovered that the music goes run and run,

146
00:14:00.759 --> 00:14:04.159
you forgot to remember you've got to swing in this

147
00:14:04.279 --> 00:14:09.480
man's town. So sing sing, sing sing. Everybody start to sing,

148
00:14:09.879 --> 00:14:14.679
La la who. Now you're singing with a swing, sing

149
00:14:14.879 --> 00:14:19.039
sing sing sing. Everybody start to sing.

150
00:14:18.919 --> 00:14:20.240
La la fool.

151
00:14:21.120 --> 00:14:22.840
Now you're singing with a swing.

152
00:14:23.360 --> 00:14:28.480
When the music goes around, everybody goes down. But here's

153
00:14:28.519 --> 00:14:33.480
something you should know for a baby, Oh sing sing

154
00:14:33.679 --> 00:14:39.600
sing sing. Everybody start to sing, La la who. Now

155
00:14:39.679 --> 00:14:44.799
you're singing with a swing, sing sing sing sing. Everybody

156
00:14:44.879 --> 00:14:47.840
start to sing, na who.

157
00:14:48.480 --> 00:14:50.240
Now you're singing with a swing.

158
00:14:50.679 --> 00:14:52.480
Sing sing sing sing.

159
00:14:53.159 --> 00:14:56.799
Everybody start to sing, la la who.

160
00:14:57.480 --> 00:14:59.240
Now you're singing with a swing.

161
00:14:59.679 --> 00:15:03.799
When the music goes around, everybody goes down.

162
00:15:04.240 --> 00:15:06.240
But here's something you should.

163
00:15:06.000 --> 00:15:12.519
Know already old sing sing sing sing, everybody is thought

164
00:15:12.559 --> 00:15:13.120
to sing.

165
00:15:15.679 --> 00:15:17.080
Now you singing with the.

166
00:15:17.159 --> 00:15:49.600
Swing Nay what Baby everybody sing?

167
00:15:52.519 --> 00:15:57.720
Sing away from that was sing, Sing, Sing, the original

168
00:15:57.919 --> 00:16:02.919
seventy eight rpm sing that was issued on Brunswick, written

169
00:16:02.919 --> 00:16:06.240
and performed by Louis Prima and his New Orleans Gang

170
00:16:06.840 --> 00:16:10.639
with a Louis Prima vocal, recorded February the twenty eighth,

171
00:16:10.759 --> 00:16:15.639
nineteen thirty six. So this is how Prima's swing classic

172
00:16:15.879 --> 00:16:20.840
composition sounded the very first time around, and many of

173
00:16:20.919 --> 00:16:24.519
us know was just sixteen months later that Benny Goodman

174
00:16:24.720 --> 00:16:29.120
recorded his famous eight and a half minute Krupa rhythm

175
00:16:29.240 --> 00:16:33.919
version for a Victor Records, and certainly the show piece

176
00:16:34.000 --> 00:16:39.480
tune performed at the legendary Benny Goodman Carnegie Hall Concert

177
00:16:39.559 --> 00:16:45.360
in January of nineteen thirty eight, sing Sing, Sing, why

178
00:16:45.399 --> 00:16:49.279
don't I now play a little kroupa? Then a few

179
00:16:49.320 --> 00:16:51.240
requests from listeners.

180
00:17:04.039 --> 00:17:12.599
Eying me.

181
00:17:17.839 --> 00:17:20.240
Ing it.

182
00:17:23.039 --> 00:17:25.079
Be mething.

183
00:17:47.279 --> 00:17:53.440
O the world?

184
00:18:23.359 --> 00:18:26.839
Anything anything.

185
00:18:30.839 --> 00:18:32.400
You need me?

186
00:19:32.759 --> 00:19:38.559
Gene Krupa and his Orchestra with Grandfather's Clock, recorded April fourteenth,

187
00:19:38.839 --> 00:19:43.640
nineteen thirty eight, in New York City, a popular tune

188
00:19:43.920 --> 00:19:47.799
that many know the lyrics of and believe it or not,

189
00:19:48.200 --> 00:19:52.519
Grandfather's Clock, also known to many as My Grandfather's Clock

190
00:19:53.839 --> 00:19:57.039
was a song written by Henry clay Work way way

191
00:19:57.160 --> 00:20:01.839
back in eighteen seventy six. And we won't have to

192
00:20:01.960 --> 00:20:04.720
go way way back to the late eighteen hundreds to

193
00:20:04.799 --> 00:20:11.200
find some tunes that were requested by listeners. And finally, finally, finally,

194
00:20:11.279 --> 00:20:16.400
a listener named Bill Norris from Birmington Hills, Michigan. He

195
00:20:16.680 --> 00:20:21.000
actually took the plunge and left an audio request on

196
00:20:21.200 --> 00:20:25.720
make Believe Ballroom podcast dot com. I am so happy

197
00:20:25.920 --> 00:20:29.559
Bill that you actually broke the ice. We installed a

198
00:20:29.640 --> 00:20:35.319
module on MakeBelieve Ballroom podcast dot com that allows folks

199
00:20:35.440 --> 00:20:38.480
and listeners to leave an audio request, and you, Bill,

200
00:20:38.559 --> 00:20:41.480
were the first, and so it's my pleasure to play

201
00:20:41.920 --> 00:20:42.920
your request.

202
00:20:43.160 --> 00:20:46.240
Oh, Jeff, this is Bill Murris listening on podcast in

203
00:20:46.319 --> 00:20:47.640
Birmington Hills, Michigan.

204
00:20:48.119 --> 00:20:49.359
Can you please play.

205
00:20:49.279 --> 00:20:52.119
Laughing on the Outside by Sammy Kay with vocals by

206
00:20:52.200 --> 00:20:52.960
Billy Williams.

207
00:20:53.359 --> 00:20:53.640
Thank you.

208
00:21:09.720 --> 00:21:14.599
I'm laughing on the outside.

209
00:22:14.759 --> 00:22:18.880
To bring us these words we hear from Billy Williams.

210
00:22:22.559 --> 00:22:29.160
The crowd sees me out dancing carefree and romancing, happy

211
00:22:29.319 --> 00:22:36.920
with my someone new. I'm laughing on the outside, crying

212
00:22:37.079 --> 00:22:41.720
on the inside because I'm still in love with you.

213
00:22:44.000 --> 00:22:48.559
They see me night in daytime, having such a gay time.

214
00:22:49.799 --> 00:22:55.599
They don't know what I go through. I'm laughing on

215
00:22:55.759 --> 00:23:01.720
the outside, crying on the inside because I'm still in

216
00:23:01.960 --> 00:23:03.000
love with you.

217
00:23:06.039 --> 00:23:07.240
No one knows.

218
00:23:08.119 --> 00:23:13.519
It's just a poles pretending. I'm glad we're a pall.

219
00:23:15.960 --> 00:23:21.880
And when I cry, my eyes are dry. The teas

220
00:23:23.000 --> 00:23:28.359
are in my hall, My darling, can't we make a

221
00:23:29.519 --> 00:23:30.880
ever since our breaker?

222
00:23:32.160 --> 00:23:34.480
Make believe is all I do.

223
00:23:36.839 --> 00:23:43.319
I'm laughing on the outside, crying on the inside because

224
00:23:43.440 --> 00:23:45.680
I'm still in love with you.

225
00:24:14.839 --> 00:24:17.839
Laughing on the outside, crying on the inside. Swing and

226
00:24:17.960 --> 00:24:22.240
Sway with Sammy Kay vocal by Billy Williams, recorded in

227
00:24:22.440 --> 00:24:27.480
nineteen forty six. Sammy Kay came up with the tagline

228
00:24:27.599 --> 00:24:33.480
swing and Sway with Sammy Kay and the expression springs

229
00:24:33.559 --> 00:24:36.440
from his first hit single in nineteen thirty seven, a

230
00:24:36.640 --> 00:24:42.240
record named Swing and Sway. But as Louis Prima was

231
00:24:42.359 --> 00:24:45.680
the first in the world to introduce sing, Sing, Sing,

232
00:24:46.559 --> 00:24:49.640
did you know my friend Bill that Sammy Kay was

233
00:24:49.720 --> 00:24:52.559
the first in the world to introduce this song?

234
00:25:01.960 --> 00:26:14.400
On Blue Berried Girl, a beautiful picture in these words by.

235
00:26:14.720 --> 00:26:24.839
Tommy Ryan, I found my trimd on Blueberry hell on

236
00:26:25.200 --> 00:26:26.759
Blueberry Here.

237
00:26:28.720 --> 00:26:37.160
When I found you, the moon stood stand on Blueberry

238
00:26:39.799 --> 00:26:48.319
and lingered until my dreams came true. The wind in

239
00:26:48.440 --> 00:26:52.279
the willow play love, sweet mellow.

240
00:26:54.960 --> 00:26:59.200
But all of those bars we made were.

241
00:26:59.240 --> 00:27:08.079
Never too be the weir apoll You're part of me still,

242
00:27:10.039 --> 00:27:15.759
for you were my trill on Blueberry Hill.

243
00:28:01.480 --> 00:28:05.440
On Victor Records. The first time ever recorded Blueberry Hill

244
00:28:05.759 --> 00:28:09.440
by Swing and Sway with Sammy Kay vocal by Tommy Ryan,

245
00:28:10.119 --> 00:28:14.160
recorded in New York City, made the thirty first nineteen forty.

246
00:28:14.960 --> 00:28:18.880
The song peaked at number two on the Weekly or

247
00:28:19.000 --> 00:28:23.279
Hit Parade Radio survey, but it was quickly recorded only

248
00:28:23.359 --> 00:28:27.839
two weeks later after that Kay release by Glenn Miller

249
00:28:28.680 --> 00:28:33.039
with his version also peaked at number two. But as

250
00:28:33.160 --> 00:28:36.400
we all know, the most popular version of the song

251
00:28:36.519 --> 00:28:40.640
Blueberry Hill was recorded during the rock and roll era

252
00:28:41.240 --> 00:28:46.440
by the great Fats Domino. And why don't we now

253
00:28:46.559 --> 00:28:49.839
play one more request from a listener and again thanks

254
00:28:49.920 --> 00:28:53.559
Bill Norris from Michigan for sending us that audio request.

255
00:28:54.359 --> 00:28:57.440
And now on to a good old fashioned email from

256
00:28:57.640 --> 00:29:01.559
Nancy and Iron Norman who listen on k p o

257
00:29:01.799 --> 00:29:07.160
V in Oregon. And Nancy and Ira have requested a

258
00:29:07.680 --> 00:32:26.200
song that Glenn Miller recorded. Nay, that was Glenn Miller

259
00:32:26.240 --> 00:32:30.640
and his orchestra with Sliphorn Jive, recorded in New York

260
00:32:30.720 --> 00:32:34.400
City on June the second, nineteen thirty nine. The song

261
00:32:34.559 --> 00:32:39.240
was composed and arranged by Eddie Durham. And thinking back,

262
00:32:40.480 --> 00:32:44.680
Eddie was actually the first to pioneer the use of

263
00:32:44.720 --> 00:32:50.640
an electric guitar in jazz music. And as I am speaking,

264
00:32:50.839 --> 00:32:55.440
I am going to Wikipedia because I have a suspicion

265
00:32:55.720 --> 00:33:01.839
about the birthplace of Eddie Durham. I think we currently

266
00:33:02.039 --> 00:33:07.839
have a community radio affiliate, and yes we do, Eddie

267
00:33:08.039 --> 00:33:10.960
was born and how I remember this is beyond me

268
00:33:11.839 --> 00:33:16.759
in San Marcus, Texas, home of KZSM Radio, an affiliate

269
00:33:16.880 --> 00:33:20.920
of the Make Believe Ballroom. So thanks Nancy and Ira

270
00:33:21.119 --> 00:33:24.839
Norman for requesting that tune a Glenn millertoon, a great

271
00:33:24.920 --> 00:33:30.079
record that is not in the usual repertoire of Miller

272
00:33:30.240 --> 00:33:33.960
music that we play here on the Ballroom. And you know,

273
00:33:34.039 --> 00:33:37.480
I'm actually very interested to know why the Normans chose

274
00:33:37.720 --> 00:33:41.839
that specific song, and I'm going to email them later

275
00:33:42.079 --> 00:33:46.279
to find out. And please email me with your request

276
00:33:46.400 --> 00:33:49.680
for a favorite song to Jeff at Make Believe Ballroom.

277
00:33:49.799 --> 00:33:53.920
Radio dot com. That's Jeff at MakeBelieve Ballroom Radio dot com,

278
00:33:54.079 --> 00:33:57.680
or as Bill did leave an audio request on Make

279
00:33:57.759 --> 00:34:02.720
Believe Ballroom podcast, make Believe Ballroom Podcast dot Com. Just

280
00:34:02.799 --> 00:34:06.000
go to the microphone in the bottom right hand corner

281
00:34:06.200 --> 00:34:09.920
of the site and whether you are listening to us

282
00:34:09.960 --> 00:34:13.079
today on one of our many community, public or university

283
00:34:13.239 --> 00:34:16.800
radio stations, are enjoying the show in podcast form, This

284
00:34:17.079 --> 00:34:20.480
is the one, the only, the original Make Believe Ballroom

285
00:34:20.559 --> 00:34:26.440
broadcasting almost continuously since nineteen thirty five, and now broadcasting

286
00:34:26.519 --> 00:34:29.760
on a new affiliate that we are delighted to welcome

287
00:34:29.840 --> 00:34:34.960
into the ballroom, WZQR one hundred point seven FM, broadcasting

288
00:34:35.000 --> 00:34:39.239
out of Pine Island, Florida, one of the islands, or

289
00:34:39.280 --> 00:34:42.440
should I say it's more of a barrier island off

290
00:34:42.519 --> 00:34:46.400
the Gulf coast within the Fort Myer Cape Carl Areas.

291
00:34:46.480 --> 00:34:51.719
So welcome aboard w ZQR. And now, as I mentioned

292
00:34:52.480 --> 00:34:55.280
during the program, Make Believe Ballroom is heard from coast

293
00:34:55.320 --> 00:34:58.199
to coast and across the Pond in the United Kingdom.

294
00:34:58.920 --> 00:35:01.800
But I often overload that we have listeners in Australia,

295
00:35:02.320 --> 00:35:06.639
and one of our Australian super listeners is Troy Workman,

296
00:35:07.519 --> 00:35:10.519
and Troy dropped me an email last week that read,

297
00:35:10.599 --> 00:35:14.559
good day, Jeff, very Australian. I hope you are doing well.

298
00:35:15.159 --> 00:35:18.639
Great show last week, particularly enjoyed the talk of the

299
00:35:18.920 --> 00:35:25.480
President's birthday ball Best wishes Troy from Sydney, Australia. Well,

300
00:35:25.519 --> 00:35:28.760
thank you Troy for being a loyal listener of the

301
00:35:28.880 --> 00:35:32.239
Make Belie Ballroom and to reward you here dedication to

302
00:35:32.320 --> 00:35:37.800
the show. How about nineteen thirty's big band music Australian style.

303
00:36:29.800 --> 00:37:14.199
Nothing Do Nothing, Anything, Anything.

304
00:37:40.039 --> 00:37:40.440
Nothing.

305
00:38:19.840 --> 00:38:23.920
Recorded in Sydney, Australia, November the twenty second, nineteen thirty seven,

306
00:38:24.079 --> 00:38:30.159
Dudley Cantrell and his Grace Grenadiers. The tune was Harlem Heat.

307
00:38:31.519 --> 00:38:35.159
And you know I also liked the version of Harlem

308
00:38:35.320 --> 00:38:39.920
Heat that Will Hudson and his Orchestra did. So let

309
00:38:39.960 --> 00:38:42.239
me move from one computer to the next here to

310
00:38:42.400 --> 00:38:46.599
our playlist computer, and I think, now, why not play

311
00:38:47.639 --> 00:38:51.079
not Harlem Heat but another record from Will Hudson.

312
00:39:33.320 --> 00:40:19.920
M Speed.

313
00:40:50.920 --> 00:40:51.599
Never like that?

314
00:41:00.480 --> 00:41:05.880
Did listen?

315
00:41:28.639 --> 00:42:07.199
She Will Hudson and his Orchestra recorded on Decca Records

316
00:42:07.400 --> 00:42:10.760
in New York City, September the nineteenth, nineteen forty with

317
00:42:10.920 --> 00:42:16.119
a little tune named hya Mister Chips Now on the

318
00:42:16.239 --> 00:42:19.760
make believe ballroom, how about some jesse Stone.

319
00:42:25.519 --> 00:42:29.559
This town is full of guys who think they're mighty

320
00:42:29.719 --> 00:42:35.679
wise just because they know a thing or two. As

321
00:42:35.920 --> 00:42:39.760
you will meet them night and day, strolling up and

322
00:42:40.000 --> 00:42:47.320
down Broadway telling of the wonders they can do. There's

323
00:42:47.440 --> 00:42:52.079
corn min and there's boosters. There's cart min and crapshooters.

324
00:42:52.360 --> 00:42:59.880
They congregate around the metropole. They wear flashy ties and collars,

325
00:43:00.440 --> 00:43:04.239
but where they get their dollars. They've all got that

326
00:43:04.400 --> 00:43:10.000
old ace stuck down in the hole. There's some of

327
00:43:10.039 --> 00:43:15.679
them right to their ole folks for gone. That's their

328
00:43:16.000 --> 00:43:17.360
ace in the hole.

329
00:43:18.840 --> 00:43:24.159
And then there's others who have friends in the old Tenderloin.

330
00:43:25.800 --> 00:43:28.280
That's their old ace in the hole.

331
00:43:30.559 --> 00:43:35.159
They tell you of trips that they're going to take

332
00:43:36.000 --> 00:43:41.679
from Florida to the ice bound North Hole, but their

333
00:43:41.880 --> 00:43:47.079
name would be mud like among plagues that if they

334
00:43:47.320 --> 00:43:48.079
lost that.

335
00:43:48.239 --> 00:43:50.199
Old ace in the hole.

336
00:44:14.280 --> 00:44:18.880
They tell you of drips that they're going to take

337
00:44:19.719 --> 00:44:25.440
from Florida to the ice bound North Hole, but their

338
00:44:25.639 --> 00:44:27.360
name would be mud.

339
00:44:28.039 --> 00:44:32.239
Like A punk plays stud if they lost that old

340
00:44:32.360 --> 00:44:37.519
ace in the hole. Yes, they can walk big, they

341
00:44:37.559 --> 00:44:40.719
can talk big, they can act that big shot role.

342
00:44:41.519 --> 00:44:45.119
But it all depends on the Ace in the Hole.

343
00:44:50.800 --> 00:44:53.320
That was Jesse Stone with a great tune titled an

344
00:44:53.360 --> 00:44:56.880
Ace in the Hole, recorded on Variety Records back in

345
00:44:57.000 --> 00:45:01.880
nineteen thirty seven. You know, I enjoyed that Stone tuned.

346
00:45:01.920 --> 00:45:04.719
So how about one more from Jesse than how he

347
00:45:05.000 --> 00:45:06.920
led a double life?

348
00:46:53.559 --> 00:46:55.360
Think Anything Anything.

349
00:46:56.679 --> 00:48:04.920
Eying, also from Variety Records, Windstorm Jesse Stone and his Orchestra,

350
00:48:05.119 --> 00:48:09.719
recorded in New York City, February twenty sixth, nineteen thirty seven.

351
00:48:10.480 --> 00:48:14.280
Certainly dug the accordion in that one, and the name

352
00:48:14.599 --> 00:48:19.880
of the tune, wind Storm very apropos. The arrangement did

353
00:48:20.000 --> 00:48:22.960
sound like you were actually walking down the street or

354
00:48:23.079 --> 00:48:26.400
riding in your car during one. Now I said that

355
00:48:26.840 --> 00:48:30.719
Jesse Stone led a double life. From the records I

356
00:48:30.920 --> 00:48:33.719
just played, you can hear for yourself that he was

357
00:48:34.239 --> 00:48:38.360
an underrated band leader, although he was revered by so

358
00:48:38.599 --> 00:48:42.159
many in the industry. So many like the likes of

359
00:48:42.639 --> 00:48:47.599
Duke Ellington. But Jesse Stone, you see, his music went

360
00:48:47.960 --> 00:48:53.400
beyond leading a big band. He was also an influential songwriter.

361
00:48:53.599 --> 00:48:58.519
And here is where the double life comes in. Jesse

362
00:48:58.719 --> 00:49:03.400
used the pseudonym of both Charles Calhoun and Chuck Calhoun,

363
00:49:04.199 --> 00:49:10.440
and as Charles Calhoun, he composed his most endearing hit,

364
00:49:11.679 --> 00:49:16.400
Jesse Stone. As Calhoun was said to have done more

365
00:49:16.480 --> 00:49:19.960
to develop the basic rock and roll sound than anybody else.

366
00:49:20.639 --> 00:49:23.280
So here is something I rarely do on the Make

367
00:49:23.360 --> 00:49:27.039
Believe Ballroom, That is to leave the premises and head

368
00:49:27.119 --> 00:49:30.079
down to the malt shop, put a coin in the

369
00:49:30.199 --> 00:49:34.039
jukebox and play this Calhoun mega hit.

370
00:49:40.960 --> 00:49:48.440
Get Up Man was your facing hand. Get up Man

371
00:49:49.199 --> 00:49:54.760
was your facing hand. Where you get in that kitchen

372
00:49:54.840 --> 00:50:01.840
makes nord with pots and vand old treasure sun dom

373
00:50:02.000 --> 00:50:08.960
shine through where you were old treasure sun jumps shining through.

374
00:50:11.519 --> 00:50:14.920
I can't believe that all the mess belongs to you.

375
00:50:17.719 --> 00:50:18.559
I believe you.

376
00:50:23.880 --> 00:50:32.159
I believe the old you devil. Where all hour fass

377
00:50:32.239 --> 00:50:33.039
about money?

378
00:50:33.280 --> 00:50:33.320
Go?

379
00:50:36.000 --> 00:50:37.039
I said, shake.

380
00:50:37.400 --> 00:50:46.079
Roll and road, shake, rolling road, shake, ralling road, shake,

381
00:50:46.679 --> 00:50:47.480
rolling road.

382
00:50:48.480 --> 00:50:52.039
There you won't do right, save your dog go so

383
00:50:53.400 --> 00:51:15.800
h blood. I like the one I can't keep it

384
00:51:15.880 --> 00:51:20.519
there to sea food stark. I like the one I

385
00:51:20.960 --> 00:51:26.360
can't keep in there to seafood stock. But I can

386
00:51:26.440 --> 00:51:29.559
look at you tell you ain't no child, no more.

387
00:51:32.199 --> 00:51:40.519
I jack right road, Shake Rally road, Shake Rally Road,

388
00:51:41.920 --> 00:51:43.639
Shake Rally road.

389
00:51:44.639 --> 00:51:46.000
They won't do right.

390
00:51:46.599 --> 00:51:53.519
Shave your dog one soul. I old well way down

391
00:51:53.719 --> 00:52:03.840
on with me hed a way out. You made me

392
00:52:03.960 --> 00:52:09.800
roll by.

393
00:52:09.840 --> 00:52:21.880
The shack n Roll, Shack Rock.

394
00:52:22.320 --> 00:52:23.960
Where you own knew nunning.

395
00:52:24.360 --> 00:52:26.400
Save your Dog Soup.

396
00:52:31.400 --> 00:52:36.400

Make Believe Ballroom - 8/30/24 Edition

Listen On

Recent Episodes