Sept. 17, 2024

Make Believe Ballroom - 9/13/24 Edition

Show Notes
Transcript

Join us for this week’s 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 genuine All-Star band, a battle for the box office, two songs that kind of sound alike -- 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.

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Put all your cares away.

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All the bands are here to bring good cheer your way.

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It's make believe ballroom time and free to everyone.

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It's no time to friend your Dalis.

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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 this dance and mister Miller, but

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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, Jill the last dast last.

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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, Hal Jarvis, William B. Williams

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in the legendary Steve Allen alive. Whether one of my

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longtime listeners, or maybe you're tuning in for the first

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time today, I invite you to join me for some

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of the greatest jazz and swing hits from the big

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band era. Hello world, and we'll welcome one and all

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into the make Believe Ballroom, coming to you coast to

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coast and across the Atlantic Ocean on station's like members

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

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and on other fine affiliates across the United States as

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well as in the United Kingdom. Let's get this swing

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and jazz party underway with this recording you.

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Back.

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You needn't anything.

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Jimmy Dorsey and his Orchestra Major and Minor Stomp, recorded

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in New York City in nineteen thirty nine. Let me

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play one more than a band whose every seat was

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filled by one of the top musicians of the era,

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all in one place at one time. It might sound

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kind of amazing, but it actually happened.

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Said.

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Bob Crosby's Dixie Land inspired Bobcats with Stumbling, recorded in

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nineteen thirty seven. Metronome was a music publication and originally

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started if I'm not Mistaken as a classical music publication

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all the way back in January of eighteen eighty five,

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and had a very long run, with the final copy

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of Metronome magazine published in December of nineteen sixty one,

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Metronome Magazine back in nineteen thirty nine came up with

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a great publicity rainstorm. I think Metronome Magazine's real sweet spot.

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Their golden era was during the big band era of

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the thirties into the early forties, but beginning in nineteen

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thirty nine and running until the magazine's demise in nineteen

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sixty one. They conducted an annual reader's poll to choose

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the musicians whom their readers considered as the top jazz

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instrumentalists for that specific year of playing their respective instruments.

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To further their great idea, the Metronome publishers organized and

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recorded the All Stars on a regular basis, most commonly

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known as the Metronome All Star Band, with recording sessions

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in nineteen thirty nine to forty two, forty five to

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fifty all those years consecutive, then individual years of fifty

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three in nineteen fifty six. In many cases, the All

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Stars recorded two songs with short solo performances from nearly

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all of the participants. So, now that you have a

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little background, let me now play some of this truly

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all star music for you, beginning with the title perfect

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for such an endeavor the All Star Strut.

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About I had a sad.

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But that was the Metronome All Stars All Star Strut.

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On the clarinet, Benny Goodman trumpet, Harry James trombone, Jack t.

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Garden on the alto sax, Benny Carter tenor sacks, Eddie

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Miller on the piano, Jess Stacey playing the guitar, Charlie Christian,

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Bob Haggard on the bass, and the legendary Gene Krupa

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playing the drums. Recorded July the second, nineteen forty in

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New York City. Let me now go to a nineteen

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forty one Metronome All Star favorite.

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Father Father of her Father. At its.

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Boo, we just heard bugle call rag the Metronome All

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Star Band trumpet in this one, Coody Williams, Harry James

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and Ziggy Ellman clarinet, Benny Goodman on the alto, Benny

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Carter tutzmandello the tenor, Coleman Hawkins tex, Bennicky on the trombones. J. C.

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Higginbotham and Tommy Dorsey. Count Bassie was playing the piano,

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Charlie Christian strumming the guitar. The base was already Bernstein

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and beating the drums, Buddy rich Man, what talent there?

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And that recorded January the sixteenth, nineteen forty one, in

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New York City. One more, another big band era stand Thered.

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This from the nineteen thirty nine Metronome All.

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Stars say, distaver, believe.

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We just listened to Blue Blue, recorded during a special

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overnight session that began late on the evening of January eleventh,

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that session ending in the early morning hours of January

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the twelfth, nineteen thirty nine, and the personnel on that

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one as determined by the Metronome reader's poll. Charlie Spivak,

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Bunny Berrigan, Sonny Dunham playing the trumpets, Jack t Garden,

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Tommy Dorsey trombones, Benny Goodman on the clarinet, Jimi Scherzer,

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Alto Sachs, author Rolini, Eddie Miller the tenor. Sachs is,

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Bob Zerk at the piano, mccarmen mastering the guitar, Bob

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Haggart the string bass, and Ray Baudick on the drums.

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Folks the story and some classic selections of big band

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aeric jazz played by the readers who nominated the Metronome

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All Stars. Now I have not been nominated, at least

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not to my knowledge. But I am the unvoted upon

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Jeff Bresler, and you're listening to the one, the only,

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the original Make Believe Ballroom broadcast on the radio almost

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continuously since nineteen thirty five. How about a listener's request,

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then the story of two legends battling it out for

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box office supremacy. But first, that request came to us

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in email form, and it's from Larry Mariarty and it reads, Hi, Jeff,

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I'm writing from Rochester and I've been a regular listener

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on WGMC for a couple of years. I chuckled to

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myself on last week's show because at the exact instant

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you played the song by Martha Tilton, I was thinking

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how much I enjoy her version of I'll Remember April.

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I guess it wasn't a big hit for her, but

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I love it. I really enjoyed the show. It's a

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Friday night staple, Larry Mariardi, and now Larry, for your

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listening pleasure.

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Sure, this lovely day will lengthen in to evening.

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We'll say goodbye to all we've.

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Ever had, al.

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Where we have walked together.

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Remember April.

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And be glad.

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I'll be contend you loved me, once said April, your

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lips were a.

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Man.

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Love and spring when you.

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But I'm not afraid of att and her sor.

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For remember.

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April.

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The fire will dwindle into glowing a shad for flames

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and love live such a little wild. I won't forget,

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but I won't be longely.

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Remember April.

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And Amid.

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The fire will dwindle into glowing ashes for flames and

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love of love, such a little wild.

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I won't forget, but I won't be long.

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Lady, remember a brow.

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Small, I'll remember April. Martha Tilton on Capitol Records, recorded

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in nineteen forty two and played at the request of Rochester,

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New York's own Larry Moriarty. I love playing requests on

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this program, and we'll play yours if you email me

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at Jeff at Makebelie Ballroom Radio dot com. That's Jeff

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at Makebelie Ballroom Radio dot com. Or go to Makebelie

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Ballroom Podcast dot com. That's MakeBelieve Ballroom Podcast dot com

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and make an audio request. You can do that by

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hitting the request mike in the lower right hand corner

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of the page and now friends, as promised a battle

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of the box office. In the corner to my left

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the veteran Benny Goodman, and in the corner to my

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right the fresh faced Artie Shaw. And this box office

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swing battle for clarinet and orchestra supremacy took place in Newark,

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New Jersey, back in March of nineteen thirty nine. Benny Goodman,

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who at that time for four years had reigned as

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the King of Swing, was playing on the stage of

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the Schubert Theater in Newark, located at a Broad and

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Fulton Streets, and just a quick jog down the block

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from the Schubert was the neighboring Paramount Theater, located on

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Market Street. Artie Shaw was in residence. Shaw was the

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young upstart to the throne who, for the six months

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prior to that residency engagement had catapulted to fame on

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the strength of a few rousing records. So the excitement

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in New Jersey for swing lovers was at a fevered pitch,

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and because of the proximity of the two stars playing

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in the same city, the press and publicists quickly picked

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up on this and they created an unofficial box office battle.

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There were significant similarities in Newark. To create this battle

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on an equal playing field, both the Paramount and the

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Schubert were approximately the same size, each was showing an

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equally awful Grade B film, and the acts accompanying the

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bands were similar Back in those days. Of course, for

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your admission to the movie theater, not only did you

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get a movie, but you probably also got a comedian

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as well as hopefully a popular big band orchestra. But

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of course, the most obvious similarity was both band leaders

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were ace clarinetists and very popular at the time, and

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the anticipated and expected Jitterbug Riots card on the opening

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day at both theaters, as the audience members jackieed for

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position outside of the theater by the box office to

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assure themselves a seat. At the Paramount, actually for Alreadie

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shaw Boy hurt himself jumping from one of the theater boxes,

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and at the Schubert, for Benny Goodman, a girl swooned

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and then fainted, which caused a brief delay in Benny's performance. Now,

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could that young lady have swooned and fainted because Benny

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Goodman had this song on the program the the on

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Victor Records. We just heard Topsy Benny Goodman and his

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Orchestra recorded in New York City November the tenth, nineteen

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thirty eight, and that was just months before the box

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office battle we are discussing. So on the other hand,

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it could it be that lad who got so overwhelmed

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with the Shaw Orchestra that he physically jumped out of

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a theater box. He might have done that because that

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foolish act. Because Artie Shaw offered this tone this on

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Bluebird Records back Bay Shuffle. Artie Shaw and his Orchestra

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recorded in New York City July the twenty fourth, nineteen

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thirty eight. So I played two records that were both

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hits and both played at the Newark gigs by Artie

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Shaw and Benny Goodman. So of course the question at

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hand is who won the battle of the box office

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in Newark between Shaw and Goodman. Well, both were one

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week long performances, and at week's end Benny Goodman could

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claim a technical victory. The box office receipts were approximately

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equal at around twenty four thousand dollars, but the Paramount

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where Artie Shaw was playing, had a ninety nine cent

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top seat charge, while at the Schubert, the top seat

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was only seventy five cents. Now we have to judge

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this on another level also in my estimation, because addicts

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of Shaw's exciting recordings begin to beginning in a back

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bayed shuffle, it was reported, were very disappointed by their

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idol's cold stage personality. Shaw, throughout his career almost always

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showed great distain for his audience, to the point of

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a lot of times when Artie played in a more

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intimate ballroom and not in a theater, individuals might walk

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up to the bandstand to ask Artie to play a

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request and Shaw it many times insulted those ballroom attendees.

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Benny Goodman's stage presence and his catalog at that point

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of more than four years worth of swing always had

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the audience dancing in the aisles, so I guess we

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could say from a showmanship standpoint, and the fact that

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Goodman's ticket prices were cheaper than aarti Shaw's with the

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same approximately twenty four thousand dollars generated, it was a

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definitive in my estimation. Benny Goodman victory on the Make

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Believe Ballroom The Battle of the Box Office circa nineteen

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thirty nine in New Jersey between Benny Goodman and Artie

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Shaw and before the battle of big band radio supremacy.

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This is indeed the Make Believe Ballroom coming to you

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from the confines of the beautiful Crystal Studio, just steps

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away from the opulent entry doors into the Make Believe Ballroom.

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I can be reached at Jeff at Makebelie Ballroom Radio

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dot com. That's Jeff at Makebelie Ballroom Radio dot com.

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And I want to remind you that, after our programs

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are played by our affiliate radio stations, to go into

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podcast form for the purpose of allowing you to listen

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to past shows. These can be found at Make Believe

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Ballroom podcast dot com, Makebelie Ballroom Podcast dot com, or

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you could go to your favorite podcast provider like Apple, Spotify, iHeartRadio.

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We are on all of them. And now Friends, the

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turntable spins with This record.

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Has from So So So.

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So So, originally recorded on Okay Records the Castaloma Stomp

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by the Castloma Orchestra recorded in New York City December sixth,

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nineteen thirty. But for your listening pleasure, I played a

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more updated Castoloma version of their stomp. You Know, my Friends.

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Although never referenced that song, the Castloma Stomp sounded awfully

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similar lern to this recording California Here I Come Eddie

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Condon and his Commodore Band, recorded November the twelfth, nineteen

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thirty eight, in New York City. I don't know, I

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never read any reference. Why the sounds of California Here

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I Come came out of the Castloma Stomp. If you know,

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let me know at Jeff at mcbelie ballroom radio dot com.

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That's Jeff at mcbelieve ballroom Radio dot com. And now

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with doubleheader sent out by me to you all of

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our fine affiliates in the United Kingdom.

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That certain night, the night we met, there was magical.

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Word in the air.

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There were angels dining at the Ritz, and the Nightingale

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sang in barle spare, Why maybe right, I maybe you won't,

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but I'm perfectly willing to spain.

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But as you turned and smiled at me, the Nightingale.

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Sang in barly spare.

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The mounded lingered over London Town or puzzled moon he

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wore from how could he tell?

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We were so much in love?

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The whole darned world seemed upside down. The streets of

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town were.

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Paved its tars. It was such a romantic of fight.

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And as week kissed.

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And said good night, the nightingale sang in Bole Square.

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I know because I was there that night in Barkly.

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Square.

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We just heard a nightingale sang in Berkeley Square. British

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bandleader Joe Loss and his Orcha stra with a Paula

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Green vocal one more for u K listeners?

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Hey, where are thout trombones? I'm there, Come on, boys,

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give me thrill, give me more.

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Light.

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It up, make it, feet it up, give it all

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you've got? What you got tromble for? Play a glimb

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just like this, give it, didn't not play it in

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your hat. What you got tremble for? First spring it

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and then you spring it, and then you spring a

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thumbre Make each movement and improvement on the one before.

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Light it in, Light it up, Give it all you've

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got to make it? Feet it up? What you got

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tromble for?

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Fan?

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Mob broy something? Goodbye? Ma, I'm going to town. What

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you gotcha? Trumbone?

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That was the Ambrose Orchestra with what you got a

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trombone for? Recorded in London January. The sixteenth, nineteen thirty six,

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And now I think I have time for one more

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email request that goes back a few weeks. Sorry, I

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haven't answered it on the air sooner. And it's from

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Sophie Lerner, one of our Bornton Beach, Florida listeners. She writes, Jeff,

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Love Love, Love to Make Believe Ballroom brings back memories

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of friends and relatives long gone.

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I was named.

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Sophie after Sophie. You played some of these days on

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your show and did not play the Sophie Tucker original.

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I don't recall whose version you played. Can you play

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the original Sophie Tucker version? Make sure you never stop

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making the make Believe Ballroom? Regards Sophie Learner. So for you, Sophie,

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we go back all the way back to nineteen twenty seven.

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Life is a book, so they say, of records on

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each page. I turned my first leaf when I went

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upon the stage. The road was rough, and it was tough,

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especially for a girl alone, heartaches, sighing nights of prying

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for my folks at home. Why I remember, way back when,

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way back when I was a young Connecticut less I

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was just as green as grass and lots of nerve

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no class. And the men I met then they were

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some sweet bunch, said a star. They'd make me right away.

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They tried to date me, but I had a Yiddisha hutch.

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Then there came a day for a job with pay.

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I wanted if i'd make it only twenty beings, But

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when you broke, it seems a fortune, and you take it.

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And then there came alone, one fine song. I hope

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you'll never forget to remember me.

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Well, you, some of these days.

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You'll be so lonely.

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Some of these days you'll miss me, honey. You'll miss

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my huggin. You're gonna miss my kissing. You're gonna miss

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my honey when I'm far away, feel so lonely, Pa,

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you won't leave because you know, honey, you've had your way,

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and when you leave me.

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You know it's gonna leave me.

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Gonna misshpic that mama, your mama. Some of these days,

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some of these days you'll miss my honey. Some of

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these days you're gonna be so lonely. You met mama,

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You're gonna met my kindow. You're gonna meet me, honey

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when I'm far away that I fell.

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Only you won't leave.

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God, you know honey, You've had your way, and when

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you leave me, you know him. Donna Rema no no

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no Jo, McK mat, Mama, your Mama, money Day.

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Some of these Days Sophie Tucker, composed by Shelton Brooks,

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accompanied by Ted Shapiro on the piano and an unknown

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group of musicians banking Ted and Sophie. Recorded September the second,

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nineteen twenty seven on Okay Records. And thank you Sophie

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Learner for that email. Friends. Unfortunately, it is now time

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for me to pull a switch and close the lights

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in the Make Believe Ballroom in my Crystal studio for

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yet another week. It was certainly my pleasure hosting you

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for this past hour. To reach me, I'm Jeff at

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Make Believe Ballroom Radio dot com. That's Jeff at MakeBelieve

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Ballroom Radio dot com. Please contact me with your requests

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like Sophie did and Larry earlier in the program. In

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addition to email, you can also record an audio request

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by going to Make Believe Ballroom Podcast dot com MakeBelieve

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00:57:44.039 --> 00:57:47.480
Ballroom Podcast dot com and clicking on the microphone in

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the lower right hand corner. Also on MakeBelieve Ballroom Podcast

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dot com you can hear, as I mentioned earlier, a

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wide selection of past shows. You can also hear the

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00:57:59.400 --> 00:58:03.400
Make Believe Broom and podcast form on whatever your favorite

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podcast platform might be, whether that be Apple, Spotify, iHeartRadio,

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tune In. We're on all of them, so folks, until

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next week. This has been Jeff Bressler.

Make Believe Ballroom - 9/13/24 Edition

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