Sept. 19, 2025
Make Believe Ballroom - 9/19/25 Edition
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This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s. On this edition - the first bandleader ever to appear on the radio, orchestras that were artistic successes but financial failures, Jeff digs up an old box with some great bandleader quotes inside - plus many more great records and stories to cherish and enjoy on this week's program.
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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. It's
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no time to friend your Dalis said bombs, close your eyes.
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And vis you lie in your solitude.
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Your favorite bands are on this dance and mister Miller,
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but you're in the wood. It's make Believe ballroom time.
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We are a sweet romance.
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You make Bob, Come on, Jill.
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The last dance last.
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Hello world, 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 program of classic big band hits from
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the nineteen thirties and nineteen forties. Please get ready as
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I play for you some amazing big band jazz, swing, blues,
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and boogie boogie favorites. Folks, you're listening to the Make
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Believe Ballroom, broadcasting almost continuously since nineteen thirty five. Hello friends,
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and welcome into my Crystal studio for another week of
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big band music and music. It will be as I
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start things off today with a little Vincent Lopez.
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Stancing.
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Come get together, let the dance floor. Feel your leather
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step as lightly as a feather. Let yourself go. Come
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hit the timber, loosen up and start to limber. Can't
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you hear that hot marimba? Let yourself go, Let yourself go.
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Relax and let yourself go. Relax. You got yourself tied
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up in or Nott. Tonight is cold, the music hot.
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Don't come cuddle closer? Don't you dare to answer?
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Not, sir?
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Put your banker, clerk and grocer.
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Let yourself go.
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From Bluebird Records. Let Yourself Go by Vincent Lopez and
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his Orchestra for Local by Maxine Tappan, recorded in New
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York City, January the twenty first, nineteen thirty six. Now
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Vincent Lopez he holds a significant distinction. He was actually
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the first band leader ever to appear on the radio.
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He was invited with his band to perform on station
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w jay Z, which was located in Newark, New Jersey,
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and he received that invitation back in nineteen twenty one.
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They have to remember this was the very dawn of radio.
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Most people had never heard a live band come through
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their radio speakers at home, so Lopez needed to introduce
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his band and himself to the radio audience. He was
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not very familiar with radio, and he really didn't know
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what to say. He stepped up to the microphone and
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he blurted out, quote unquote, hello, everybody, Lopez speaking. And
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that actually worked, and it worked so well that it
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became his trademark that he carried throughout his career, a
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career that lasted from the early nineteen twenties right through
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Believe It or Not the early nineteen sixties. Now, another
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thing that Lopez carried throughout his career was that he'd
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open every performance with his theme song, and that was
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a song titled nolacon.
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Cot Contacting until cooped in the complet micro MICROCM contact control,
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Coca Coal compact, take conversion and contract contact and you
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can get conversion contrite.
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Can take until from the take contact a contre.
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Contractor cont contract complete compt.
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From Bluebird Records. Nola by Vincent Lopez and his Suave
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Swing Band, What a Great Name, Recorded in Hollywood, January eighth,
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nineteen forty the great pianist and band leader Vincent Lopez,
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right here on the one, the only, the original Make
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Believe Ballroom. And let's move on to another segment. But
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what you want to know something before I do that.
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I just wanted to mention something about radio. Radio was
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the mass medium of the era through the twenties, thirties,
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and forties. Obviously there was no television at the time.
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Programs like this very make Bully Ballroom, which began in
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nineteen thirty five, and other musical shows as such as
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Your Hit Parade, combined with live remote broadcasts from famous
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ballrooms like the Glen Island Casino, the Hotel Pennsylvania's Cafe Rouge,
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and the Paramount Theater in New York that brought big
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band music into homes across America. Stations often broadcast bands
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live from hotel ballrooms, nightclubs, and theaters, which made the
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music feel intimate and exciting to radio listeners. Now we
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play many big band radio remotes here on the show.
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So it was not record sales per se that brought
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big bands into people's homes. It was radio, especially during
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the depression, when money was scarce throughout most of the
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nineteen thirties and there really wasn't any spare change in
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households to purchase seventy eight rpm records. So a little
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aside there. But back to Vincent Lopez, for a moment.
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He performed for close to fifty years, and there were
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a number of extremely talented band leaders who didn't last
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a fraction of that amount of time that Vincent Lopez did.
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So why was that? Well, I'll let you know after
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this record.
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Make him from the romin. If you some troup and
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you'll be home and coming woman.
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Don't just wake up and.
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Sing and start.
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It'll be a ball by corrupting with any fine that
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just makes you work, coming home night while the coffee
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is working.
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Keep your vocal cold working.
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I'll be you. Just wake up and think, Dottie, I
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am start to day.
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Ride it's the great builder up around around about something.
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You'll be home and coming home at night.
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Wake up and swing no joy ride, taking him from
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the robin.
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If you do no problem, you'll be woman from woman
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night job.
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Wake up and sing.
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Paper a man with one.
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This bake you is coming alas night.
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Why I'm comms working, come it working, keep.
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Your vote working.
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Stop hoky monkey can okey j Just wake up and
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saying come on joy ride.
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It's the greatgular umbrella A.
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Via Bluebird Records. Wake Up and Sing by Dolly Dawn
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and Her Dawn patrol, who in actual was George Hall
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at his hotel Taft orchestra vocal by Dolly Dawn. That
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Bluebird recording took place in New York City on January
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the thirty first, nineteen thirty six. So before Dolly and George,
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I said, I wanted to discuss why a guy like
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Vincent Lopez was able to survive all those years, all
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those decades as a band leader, while many great orchestras
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and band leaders only survived a fraction of that time.
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And well, there were a number of reasons for that,
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but in my mind, the most obvious was that many
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swing and big bands of the thirties and forties unfortunately
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collapsed under financial strain despite music success on a nutshell
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artistic success, but financial failure. As they say, the economics,
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as you can imagine of running a large touring orchestra
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were brutal. Well, let's look at it this way of
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why it was a large financial nut to crack. Bands
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at that time had anywhere say, between twelve and eighteen
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musicians on their payroll. The band leader had to hire rangers, singers,
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managers were involved. Buses and trains had to be paid for,
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hotels and food allowances also had to be taken into account,
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so all these expenses could kill you. And add to
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that a band leader was not the most stable. For example,
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a lot of alcoholism, unfortunately was prevalent at the time.
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Some guys had personal problems, and some were just too
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laid back and into their music and not forward thinking
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enough when it came to set goals for their orchestras.
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Many couldn't manage their own finances, let alone of big bands,
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which in essence was like a small company. And well,
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after what I just said, you could see how failure
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could unfortunately be quite easy. I think we also have
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to take into consideration that many of these band leaders
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were still in their twenties, one fame struck, and not
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the most mature. So let's look at some of these
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bands that had all the talent in the world but
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lacked longevity. One of my favorite trumpet players of the era,
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brilliant trumpet player was Bunny Berrigan, and he appeared with
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some of the great bands of the nineteen thirties, and
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he went on to lead a short lived band starting
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in nineteen thirty seven. Despite critical acclaim and some hit records,
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The group Bunny Berregan's orchestra. Well, they hemorrhaged money. Bunny's
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alcoholism and poor business management compounded the financial strain put
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on the band, and they folded just a couple of
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years later. Let Me Play One for You by Berrigan,
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a song that was not only a hit for Bunny
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but one of the most famous recordings of the Big
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Band era.
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I'm blown around the world in a plane. I've set
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a river loser thing.
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And the noful I have charted.
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Still I can get started with you on the golf course.
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I'm under part.
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My trouble when I have asked me to starve. I've
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got a house of gold places. Still I can't get
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no place with you, all your soul supreme, the Rickie
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right of you. I dream dream, damn light of you
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and my dream.
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Because for the sight of you, baby, what good does
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it do? I've been consulted by Franklin, the.
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That of God, Ball has had me to see still
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broken heart.
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All I can guess a prod.
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From Victor Records, we just heard I Can't Get Started
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by Bunny Berrigan and his orchestra. Vocal by Bunny that
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recorded in New York City August the seventh nineteen thirty
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seven from the Crystal Studio. You're listening to the Make
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Believe Ballroom. I'm Jeff Bresler, and I'm playing some great
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music by great band leaders who for the most for
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financial reasons, had to disband their orchestras while they were
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still very popular. Now another orchestra, not lacking talent but
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money was Benny Carter's orchestra was critically admired but financially unviable.
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Benny indeed was a man for all seasons. He played
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the saxophone, the clarinet, and the trumpet. He composed, arranged,
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and as we will hear, was a skilled band. Later,
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he tried one orchestra of his own in the early
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to mid thirties, and that didn't prove financially successful. So
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he tried another time with his own band, and that
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didn't last a long time either, basically nineteen thirty eight
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to forty one. But in the music business overall, Benny
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Carter certainly did have an unusually long career that lasted
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all into the nineteen nineties. As a matter of fact,
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if I'm not mistaken, during the eighties and nineties, he
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was nominated for multiple Grammy awards which included receiving and
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I remember seeing this on television a Lifetime Achievement award.
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Let's listen to one of Benny's recordings from nineteen thirty
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nine on Vocalion Records, Benny Carter and his orchestra Plymouth Rock,
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recorded in nineteen thirty nine. Now, after Benny broke up
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his band for financial reasons, he quickly went back to
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work both arranging and leading small jazz groups for as
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I mentioned, many years to come. Let's look now at
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one more band where finances and strangely enough fame course
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that to this band. Of course, we all know Ella Fitzgerald,
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aka the first Lady of Jazz. And Ella's career began
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in nineteen thirty five with the chick Web Orchestra. Chick Web,
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of course synonymous with the legendary Savoy Ballroom. And there's
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some great battles of the band at that venue that
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they seem chick Web always seemed to win. Most notably
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in my mind, was the face off with Benny Goodman
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where Chick on the drums went head to head with
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Gene Crooper. The chick Web Orchestra beat the pants off
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of Benny's band. That night, an episode that actually haunted
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Gene Crooper for the rest of his life. Let's go
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back to Ella with chick Web. So Ella's vocals and
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the swing and precision of Chick's band produced many many
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hits along the way. Chick Web, who had many physical problems,
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unfortunately passed away in nineteen thirty nine when he was
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only thirty four years old. So the idea was developed
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to have Ella continue the tradition of the Chickweb Orchestra
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by becoming its band leader. So the band was renamed
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with basically the same personnel, Ella Fitzgerald and her famous Orchestra.
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Now that band was very well received, but within a
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couple of years suffered financial setbacks and add to that,
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Ella certainly was taking off as one of the great
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soloists of the nineteen forties and beyond. So they called
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it a day, but not before Ella led the band
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no vocal here she was the bandleader for this.
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One book.
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Made from.
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Decca Records, recorded March the twentieth, nineteen forty, Ella Fitzgerald
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and her Famous Orchestra with Jubilee Swaying. So a few
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talented musicians folks who mostly for financial reasons, were not
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able to maintain longevity with their bands. You know, even well,
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let's see even Woody Herman, I know, Artie Shaw, Jimmy
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Dorsey in his early days. Even standouts like those titans
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of the industry had to disband and rebuild at times
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due to financial downfalls. I'm Jeff Bressler, and we played
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