Aug. 9, 2024

Make Believe Ballroom - 8/9/24 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 – some contemporary big bands, British big band plays a popular tune, how many children were named during the big band era, a ballroom from days gone by -- All this and more of the greatest hits of the big band era are played for your musical enjoyment.

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.

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Ballroom time and free to everyone.

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It's no time to friend your Dalis.

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Said Bob.

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Yours.

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Close your eyes and visualize in your solitude.

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Your favorite bands are on the Stance 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 a sweet romance.

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As you make the bottom.

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Come on, Joe the last dance lastes.

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Hi, folks, I'm Jeff Presler, turning on the lights of

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the Make Believe Ballroom and welcoming you into my Crystal

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studio for another hour of the greatest swing, jazz and

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big band hits of the nineteen thirties and nineteen forties.

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I'm hosting the show to keep the music and traditions

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of past hosts Martin block Al, Jarvis William B. Williams

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in a legendary Steve Allen alive. Whether you're one of

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my longtime listeners or maybe joining us today for the

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first time, I invite you to step into the Crystal

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Studio for some of the greatest jazz and swing hits

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from the Big band era. Hello world, and thanks for

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listening in on this broadcast of the Make Believe Ballroom

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coming to you coast to coast and across the Atlantic

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on stations like Members Supported Jazz ninety point one WG

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in Rochester, New York, and on many many other fine

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affiliates across the United States and in the UK. Folks,

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I received an email this past week from Larry Swenson,

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who listens to the program in the state of Oregon.

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He said, as a part of his long email, would

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it be possible on one of your programs to pay

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tribute to some of the many current big bands, combos, etc.

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Who still adhere to the traditions of thirties and forties

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swing and jazz. Well, Larry, thanks for the email, and

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now for you on the one the only, the original

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Make Believe Ballroom, A fulfillment of your wish.

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Then't better than anything.

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Mother, Father, have a little a wom mm hmm.

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And the.

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Talk Esquire Jump was first recorded by Leonard Feather and

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his All Stars in nineteen forty five. When Day is Done,

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the record we just listened to that was actually inspired

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by Coleman Hawkins nineteen forty recording of Esquire Jump that

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he did along with Benny Carter. It was recorded on

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November sixth, twenty twenty by the talented French band called

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the Carolina Reapers Swing. The Carolina Reapers Swing, Larry Swinson,

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thanks for your suggestion to play some of the more

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contemporary bands who carry on the big band and swing tradition.

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I think I'm actually going to play more of these

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current recordings and future programs. That was a great idea, Larry.

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And to prove my commitment to that, how about one more.

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Thing I think.

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I think.

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I think.

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Sometimes continue.

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Something at.

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That was the legendary George Gee, one of the greats

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who plays traditional big band and contemporary swing. That recording

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was titled Big Apple Contest and recorded live, made the

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twenty fourth, twenty seventeen at the Swing forty six Jazz

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and Supper Club. In time, I'm square in New York.

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I'm Jeff Bresler, and I'm in the Crystal Studio just

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steps away from the dance floor of the Make Believe Ballroom.

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It can be reached just like Larry Swanson did by

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emailing me at Jeff at MakeBelieve Ballroom Radio dot com.

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That's Jeff at MakeBelieve Ballroom Radio dot com and dear listeners,

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we now go from New York City's Times Square to London, England.

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Any time your Lambeth while any evening, any done, you'll

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find us all do in the lambeths woe, every little

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Lambeth coun with a little Lambeth pound, you'll find them

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all do in the Lambeth warm, everything free and easy.

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Do as your dog well, please Eve, why don't you

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make your whye there so there, stay there once you

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get down lambethwhire you every eve kneeing every day you'll

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find yourself do in the lamb Both.

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Wols on Imperial Records. That was Lambeth Walk from the

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play Me and My Gal, recorded in London in nineteen

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thirty eight and performed by one of the UK's top

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band leaders of the era, Billy Cotton, Billy Cotton and

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his band. And come to think of it, if I'm

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not mistaken, I think I just referred to the show

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as Me and My Gal. Of course it was Me

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and My Girl, a nineteen thirties musical comedy, first appearing

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in London, England, and then traveling across to the United

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States to this very day still performed in revival at

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theaters across the world. And next on the agenda, a

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record request coming via email in just a little while.

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And while on the subject of requests, I receive a

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lot of email requests for music, so to offer other

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alternatives in addition to email, we set up on makebullye

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Ballroom podcast dot com, the Maakebully Ballroom Podcast dot com

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website a plugin that allows you to actually record your request.

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If you go on Makebelie Ballroom Podcast dot com, you'll

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see a little microphone in a circle. If you're looking

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on your computer, it's in the lower right hand corner.

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But we set that up, and you know what, crickets.

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I guess most listeners are somewhat microphone shy, and I

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don't want to hear their voices on the radio. But

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I challenge you, I personally challenge you to be the

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first to request the song via make Believe Ballroom podcast

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dot com and I will play it on the air.

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In the meantime. Let's listen to this.

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You say Eza, and I say, you say Esaia. Let's

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come the hole thing.

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You like potatos, not like totato.

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You like tomatoes, and I like tomatotato, tornados.

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R badles.

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Let's call the hold thing call what all? If we

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call the HOLI let fed my part and.

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If we have a part, this dad.

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Mine raised my home.

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So if you like for jonmas, not like pajamas, I'm

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way with jamas.

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Give up for jams.

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So we know we need these others.

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So we better call a car and all.

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Let's all the while.

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But home.

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If we call them all home, and.

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We mon call.

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And if we ever pon my RaSE my hot so

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if you go rushes and I go question, hang on

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the horses and caps on the USh for window wei shuta.

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So then a call the con it off.

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Let's all.

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That was Billy Holiday with let's call the whole thing off?

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The great uh George Gershwin tune recorded on Collo Be

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Your Records in nineteen thirty seven. That song was first

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performed that same year, nineteen thirty seven, in the Fred

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Astaire and Ginger Rogers film Shall We Dance and Friends.

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An other wonderful female vocalist also recorded that song as

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well as recording this one.

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I hear tell there's a stranger in the Jones household.

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That's what I'm told.

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I here tell there's a new.

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Arrival six days old.

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Yes worth his waving gold.

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Come ride in and meet the sun resting stone.

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Time to have some fun.

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Yes, yes, yes, sir, ree, yes sir. It's a big.

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Holiday everywhere.

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For the Jones family.

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He has a rand new air.

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He's the joy heaven sent and they proudly present mister

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fank and divos of bell Chon. When he grows up,

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he never will straight with the name like the one

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that he's got to dave. As he walks down the street,

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folks will say please to meet mister freklnd rose A

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bell Chones. What a smile and how he chosen? He'll

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keep happy all day? Lord, what a name.

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I'll bet he knows it with that hand. How can

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he a roll?

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And the folks in the town all the green He'll

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be famous, as famous as he can be. How can

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he be a dirt or a stick in the mud

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when he's freanklund rose A Jones.

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Yes, God it.

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John, you just heard fd R Jones by Chick Webb

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and His Orchestra, vocal by Ella Fitzgerald and recorded on

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Decca Records in nineteen thirty eight. The song was actually

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satirical in nature, and it poked fun at the then

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practice of many African American parents who named their children

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after Franklin Delano Roosevelt, the thirty second President of the

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United States. Though such a naming might seem definitely unusual today,

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American parents of the past did sometimes give their children

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names like John Quincy Adams Miller or Woodrow Wilson Smith.

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But the best example of all time, I raced and

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drove harness horses for over twenty years and housed in

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my barn at the by coincidence no longer in an existence,

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Roosevelt Raceway was a trainer and harness driver and a

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good friend of mine, whose name was actually General George

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Washington Junior. A long gone practice of naming babies after

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distinguished presidents. In addition to records being played on the

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make believe ballroom, our stream of trivial information in the

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crystal studio shows no bounds.

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He's not so good enough one.

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When you getia.

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You met.

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He is much of a days.

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But then when he takes you.

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Hold, you'd be surprised. He doesn't look like much of

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a lover.

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But don't judge your book by its cover. Please got

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the face of an angel, but there's the devil and

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his si. He's a deligo thing. But when he starts

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in just just for you, you'd be surprised. He doesn't

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look very strong, but when you sit on his knee,

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you'd be surprise. At a party, you're everbon that to

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admit there is nothing.

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At all but an amari's chair.

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You'd be surprised. He doesn't say very much, but when

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he starts then to speak, you reads the problem not

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go ver at the start, but at the end of

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the wheel.

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You'd read them on a street car or in a stray.

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Do you think he was born with that any brain?

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Bana tax see king you Desipie.

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I just played. You'd be surprised by Aaron Tucker and

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his orchestra vocal by Bonnie Baker. That familiar Irving Berlin

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tune from the nineteen nineteen Zigfield Fowlies followed the recently

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successful Orn Tucker formula of a signing singer a wee

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Bonnie Baker QTS type vintage tunes to sing, such as

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Georgia M. Cohen's Billy and the Huge hit Oh Johnny

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Oh on Columbia Records from nineteen forty you'd be surprised,

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and you might not be surprised if I told you

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I am Jeff Bresler, and you're listening to this week's

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day of the Make Believe Ballroom coming to you from

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the Crystal Studio coast to coast and in the United

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Kingdom on radio stations such as the beloved Member Supported

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Jays ninety point one WGMC in Rochester, New York. Also

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want to make you aware that past programs come to

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you via podcast. Please go to www. MakeBelieve Ballroom podcast

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dot com, MakeBelieve Ballroom Podcast dot com, or visit your

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favorite podcast platform, whether that be Apple, iHeartRadio, Spotify, tune in.

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We're on all of them and to reach me. As

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I've mentioned earlier in the program, I'm Jeff at MakeBelieve

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

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In just a moment, a request by a ballroom historian listener.

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Did did.

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Didn't?

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In the campaign.

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From the Poor.

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Things, fifty Wonder and.

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Averything I.

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Bob Chester and his Orchestra recorded back in nineteen forty one,

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and now a listener email and request this from our

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friend Michael Fusco who had the nerve to actually confront

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construction workers during the demolition of New York City's Hotel Pennsylvania,

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which led to him obtaining a piece of a column

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from the famed Cafe Rouge, where band leaders such as

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Artie Shaw and Glenn Miller broadcast on the radio and

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played music for those in attendance. I call him the

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ballroom ghost hunter, and here is evidence to back that

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claim up. Hi, Jeff. The site of Frank Daly's Meadowbrook

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is still there on Route twenty three in Cedar Grove,

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New Jersey. It's now the parish hall for a Macedonian

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Orthodox Church and it looks virtually the same inside. Michael

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sent me some wonderful pictures of what Frank Daily's Meadowbrook

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still looks like today. Michael goes on to say, can

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you play Charlie Barnett's Pomptin Turnpike, which was written about

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the Meadowbrook. Thanks Jeff, and thanks for all you do

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to keep the ballroom and big band music alive. Signed

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Michael Fussco. So for you, Michael, coming to you from

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Frank Daly's Meadowbrook on Route twenty three, just off the

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Newark Pompton Turnpike in Cedar Grove, New Jersey, we present

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the music of Charlie Barnett. Pumped in Turnpike by Charlie

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Barnett and his Orchestra, recorded in nineteen forty, number three

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bestseller for Charlie that year, in a tune that honored

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the famed Meadow Brook, one of the Big Band era's

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most popular dancing venues. And thank you Michael Fusco for

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the information and request. I enjoyed playing a song for

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you by the Hudson DeLange Orchestra last week, so why

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not play one more?

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This way?

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Here goes Jamazon.

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Let your troubles be off and gone.

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Where set is dove to rock in the Town on

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your tools Van all.

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Man rhythm is gone again, A rock a ron, We're

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rock in the town.

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We won't stop till we want them. Every people is

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the all sery people, dark shame. If the rolling rumble

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of a river squakes, all here goes the time is high.

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They're one woman and that's the sky.

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We gotta gainst dull to Rock in the Town.

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On Brunswick Records. Rocking the Town by the Hudson Delang Orchestra.

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Vocal by Betty Allen and recorded in New York City,

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November the twenty second, nineteen thirty seven. Hudson Delang a

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short lived and I feel somewhat underrated orchestra of the

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Big Band era Will Hudson. He was a composer and

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Eddie Delang was a lyricist as well as a band leader,

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and their proclivity for producing good music is what brought

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them together to start a two band leader group. Although

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was Eddie Delang who actually for the most part led

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the orchestra for their appearances. They only partnered together for

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I guess just a handful of years. It's probably about

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three to five years. After that, they dissolved the band

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and continued on their separate ways to be successful writing

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music and composing lyrics. The Hudson de Lang Orchestra and

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from Hudson Delang to one more email on today's program. Wow,

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it seems some weeks we have little time to read emails,

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but today, fortunately I think I have read three. This

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one's been sitting on the console in the Crystal studio

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for a few weeks now and it comes from Zaane Griffin.

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Zain has written to us in the past. I think

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he listens on kwos in California. Zaane writes, Jeff, thanks

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for playing a number of songs over the past few

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weeks that have had the topic of trains. My father

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and both my uncles worked for the Union Pacific Railroad.

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My uncle Ernie went on to be a railroad executive

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for other rail lines. I remember Uncle Ernie talking about

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his work on the Freedom Train. Can you play the

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Freedom Train song? Well, thanks, Zay. I will indeed play

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the tune and then the story of the actual Freedom train.

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This song is a train song. It's a song about

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a train.

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Not the Ancherson Speaker, not the Chattanooga cho Uo, No

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the one that leaves at midnight for the state of Alabama.

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This song is a train song where the engineers, Uncle sand.

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Here comes the Freedom Train. You better hurry down, just

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like a ball of it. It's coming into your hometown.

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Inside the Freedom Train you find a precious free those

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words of liberty, the documents, and that's great.

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You can shot your anger from a steeple. You can

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shoot the system full of hope.

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You can always question me the people.

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You can get your answer at the board.

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That's how it's always been and how it will remain.

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As long as all of us keep riding.

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On Freedom Train, Mercy, the Pipers and the West.

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And sitting on the observation spreading freedom through the land.

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You can write the president a letter. You can even

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tell him to his face if you think that you

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can do it better. I get the votes and you

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can take its plan. If you hate the loss of

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your obeying, you can shout your anger to the crowd.

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We may disagree with what you're saying, but we'll fight

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to let you say it loud.

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That's how it's always.

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That's the way it's gonna remain, as long as all riding.

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On the Freedom change, Run, Run, run right.

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He's gone by not free.

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The Freedom Train by Irving Berlin has recorded on Columbia

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Records by Johnny Mercer, Peggy Lee, Benny Goodman, Margaret Whiting

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and the Pied Pipers with Paul Weston and his orchestra.

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Other versions of the Freedom Train were made by Bing

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Crosby and the Andrews Sisters. I think a version was

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also made by Buddy Clark.

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Now.

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Historically, two national freedom Trains have toured the United States.

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The nineteen forty seven to forty nine Special Exhibit Freedom

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Train that the song was about and the nineteen seventy

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five seventy six American Freedom Train, which celebrated the bi centennial.

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Each of those trains had its own special red, white,

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and blue paint scheme and its own itinera and route

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across the forty eight contiguous states, and the train stop.

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Both those trains stopped to allow visitors to board to

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view displays of Americana and related historical documents and artifacts.

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They plan to run another Freedom Train in twenty twenty six.

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I certainly encourage you to do a little Google research

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to learn more about the historical Freedom Train, both its triumphs,

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and you will find out some controversies. But back to

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the music. Irving Berlin wrote the song Freedom Train over

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the course of a single Sunday afternoon. Then Irving Berlin

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generously gave the copyright to the song and any subsequent

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royalties to the American Heritage Foundation, who sponsored the forty

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seven to forty one I'm Freedom Trained. So thank you

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Zaye for that email, and thank you Gene Crooper for

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this next song.

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Back me.

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Show sho.

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Shot that was the Krupa classic Nagasaki Gene Croupa and

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his orchestra Leo Watson vocal recorded in nineteen forty five,

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and now, friends, let's go back to nineteen thirty for

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this familiar tune.

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After You're gone, let me cry, After you're gone, there's

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no DENI You'll build bloom, you'll build side, You'll miss

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the dearest by.

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However, they will.

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Come a time.

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I don't forget it.

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They will come a time when you'll regret it. Some

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day when you grow lonely, your heart will break.

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Like mine and you want me only after you've gone,

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after you've gone away.

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After you've gone. Paul Whiteman and his Orchestra recorded on

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Columbia Records in nineteen thirty with some all star backup

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00:51:04.119 --> 00:51:08.960
there that featured Eddie Lang on the guitar, Joven Nudi

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on the violin, and a vocal by the very young

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then Bing Crosby. And now, folks, it's time to take

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00:51:18.360 --> 00:51:20.119
a look at the big bull of a clock on

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the wall here in the crystal studio to check on

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the time. And I guess we do have time for

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one or two more such on Victor Records, that was

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rolling by Benny Goodman and his orchestra, arranged by the

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Great Mary Lou Williams and recorded in Hollywood, California, July

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00:54:50.760 --> 00:54:55.599
the seventh, nineteen thirty seven. One more record, then we're

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going to have to, unfortunately close the doors of the

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Make Believe Ballroom for another week.

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00:55:51.159 --> 00:55:56.880
O Columbus was the discoverer of America, and he sailed

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00:55:56.920 --> 00:56:02.079
the sea in fourteen ninety two. But the good Queen

386
00:56:02.320 --> 00:56:07.000
is a fella found a more attractive fella, and Columbus

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00:56:07.159 --> 00:56:09.199
wound up in the jugger room.

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Oh, let me a lesson to you. Everybody meets his waterloo.

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He wasn't too big to end up behind the eight ball.

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And remember, Bunny, there is still.

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A lot of room for you.

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From Brunswick Records. Let that be listened to you by

393
00:57:22.400 --> 00:57:26.920
Toots Mondelo and his orchestra vocal by Barry McKinley, recorded

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in New York City, November the nineteenth, nineteen thirty seven.

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And with that, friends, it's now time to turn out

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