Sept. 25, 2024

Make Believe Ballroom - 9/20/24 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 -- some 1900s era hits that were revived during the swing era, a little history about scat singing, when a records B side quickly transferred to the A side - plus many, many more of the greatest hits of the big band era are played for your musical enjoyment during this episode.

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It's make Believe ballroom time. Put all your cares away.

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

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

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It's no time to friend your Dalis said bombs. Close

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your eyes and visualize in your solitude.

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Your favorite bands are on the stands 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 bottle.

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Come on, Joe the last dast last ess.

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Hi, folks, I'm Jeff Pressler, 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 yet another hour of the greatest swing, jazz

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and big band hits of the nineteen thirties and nineteen forties.

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

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

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

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

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first time today, I invite you all to join me

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for some of the greatest jazz and swing hits from

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the Big Band era. Hello world, and to welcome one

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and all into the make Believe ballroom, coming to you

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coast to coast and across the Atlantic Ocean on stations

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like Members Supported Jazz ninety point one WGMC in Rochester,

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New York, and on other fine affiliates across the US

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as well as in the United Kingdom. So let's head

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right to the Victrola to spin our first platter on

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today's show. This is an old time tune with a

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modern update, well modern at least if you were living

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in nineteen forty. That was Shine on Harvest Moon Jimmy

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Dorsey and his orchestra with that swing version recorded as

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I mentioned earlier in nineteen forty, the song Shine on

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Harvest Moon actually became a major hit at the Zigfield

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Follies of nineteen eight. Folks in just a few moments,

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a singer who performed with one of the greatest bands

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of the Big Band era for a decade. Yet you

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might not be that familiar with her. But first, let's

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play one more oldie Bud Goodie that takes us originally

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back to nineteen eleven. This song was not his first ever,

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but it is the tune that brought the legend and

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derry songwriter Irving Berlin to prominence.

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Come on in, oh ma honey, oh my honey, better

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hurry and let's Riander as.

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You go in.

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Ain't you go in?

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Do the leader man raged a man?

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O my honey, Oh ma honey.

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Let me take you to.

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Alexander's grand stand rad Span.

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Ain't you coming along?

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Come on here?

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Go on here Anaxander's rag coon man, come on here,

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come on here.

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He's the best man in the last than last.

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Pupil like you never heard you go.

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That's the natural that you want to go to war.

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That's just the bestest man for them.

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Harland, come on along, come on along.

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Let me take you by the hand.

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I to thom Man, to the man who's the leader.

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Of the band.

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If you want to hear that swanny music made in ragtime.

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Come on him, come on him, come on here, Rammy

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Danders rag time band, come on him, come on him,

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Come on here.

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Rammy Danner's rag time ban.

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Come on here, come on in here.

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And Lexander's read Tom bass come on here, come on here.

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It's best man in the land that you like you

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never had before.

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Listen aural, let.

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You want to go to walk.

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That's just the best man.

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What'm honey?

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Last?

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Come on along, come on along, let me take you five.

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The man I choose the man.

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I choose the man. Who's the leader? Rob band?

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Come on along, Come on along, fall and down the

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man right down pants, come on along, hillow around.

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Called the Sanders Rack Home Band.

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On Brunswick Records. That was the wonderful Boswell Sisters with

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Alexander's Ragtime Band, an updated version of the Berlin Standard

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recorded in nineteen thirty four. Friends, when we think of

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the music of Duke Ellington, we often overlooked it. For

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ten years, Ivy Anderson performed as his vocalist. She was

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the first singer Ellington ever hired, and what a hire

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it was, because in nineteen thirty two, the years she

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started working for Duke, she produced the vocal for this

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Ellington hit.

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What ya Doo?

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What do?

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What d DoD d do?

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It don't mean a thing?

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Give it?

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I got that thing af.

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It don't mean a thing.

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All imagine do is things I may not epresent between

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the hut. Just keep that rhythm, give it every then

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you not. It don't mean nothing.

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If I got that thingla but It don't mean nothing.

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If it ain't that thing.

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On Brunswick Records. We just heard one of Duke elling

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best remembered songs, It don't mean a thing if it

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ain't got that swing, featuring the vocal of Ivy Anderson,

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who we are paying a mini tribute to here today

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on the Make Believe Ballroom. Many vocalists during the Big

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band era moved from band to band, but Ivy Anderson

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never recorded for anyone else other than Ellington. A decade

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with Duke probably could have been extended, but Ivy Ivy

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Anderson had a health issue. You know, sometimes we think

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of the nineteen thirties and forties as a kinder, gentler time,

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but you know, when it came to healthcare and physical issues,

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many problems that are either manageable or curable today with

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medications or surgery or lifestyle check that really didn't exist

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back then. Ivy had a bad case of chronic asthma,

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which forced her to leave Ellington's band in nineteen forty two.

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So Ivy went back home to California, and in Los

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Angeles she started a restaurant with her then husband called

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The Chicken Shack. It was very, very popular in La,

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but Ivy's health continued to deteriorate and she had to

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give up the restaurant. Unfortunately, she passed away from asthma

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related problems in nineteen forty nine, at the young age

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of forty five. But fortunately we still have her wonderful

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voice on record for generations to come to enjoy.

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Don't don't don't do.

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Very well. Land of cotton. Cotton is out of style.

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An child jumper, all don't you breathe little leave All

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the hounds I do be sieve have been killed and thrilled,

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Jump for jow. Have you seen pastures movies? Greed in

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Pastures was just a techno color movie. When you stop

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up to heaven and ju be old Saint Petere' tell

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that boy jump for joy, Step right in and give

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meat some skin and jump for joy.

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That was Ivy Anderson with the Duke Ellington famous orchestra

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singing Jumping for Joy, recorded in December of nineteen forty one.

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So a little mini tribute to the vocalist Ivy Anderson.

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And when I played it, don't mean a thing if

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it ain't got that swing. We hear Ivy scatting a

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little What was scatting? And what is the fact and

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fiction behind that form of singing. I'm going to tell

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you that after.

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This, he's a Gurbstone cuty, his mama's fright end beauty.

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They call him jelly bean parts. He's hair in the

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veddle and clashes it down, scatters little jelly beans all

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around town. Why the boys all love him? They think

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he's a riot. If you know what I mean, I

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won't drink that beefold beer wine eats ice cream soldiers,

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But all the time I'm a Gerbstone beauty, mama's fright

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and beauty. They call him jail Levian. I mean, they

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call him jail living. He's a Girbstone beauty, his mama's

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fridend beauty. They call him the jelly bean parts. His

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area in the bed and then flashes him down, scatters

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little jelly beans all around town. Why the boys all

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love him? They think he's a riot. If you know

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what I mean, I won't drink that be bolt bear

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of wine, just keeps sat ice cream all the time

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of Girdlestone beauty, mama's frightened beauty. And they call him

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jealy Bean. I mean jeal.

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We just heard jelly Bean by Phil Harrison his orchestra

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Vocal by Phil, recorded in Los Angeles, December seventeenth, nineteen

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thirty six. I'm Jeff Bresler, and I am delighted that

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you are joining me today on the one, the only,

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the original Make Believe Ballroom broadcasting almost continuously since nineteen

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thirty five. To reach me with a request or observation,

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I'm Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff

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at MakeBelieve Ballroomradio dot com. And if folks, I was

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going to talk about scatting, and I will do that

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in just a moment, but since I just mentioned requests,

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and before I forget or don't have the time to

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do it, I want to read an email request I

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received this week from Ronnie Cosby, who listens in Sleepy Hollow,

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New York. And Ronnie's email was certainly straight into the point.

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It reads, Jeff, can you play my late dad's favorite

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song Harry James Flash so for you Ronnie, and does

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a tribute to your late dad.

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Shut Him?

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Released in nineteen thirty nine on Columbia Records, Harry James

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and his orchestra with Flash played expressly here today on

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the make Believe Ballroom for New York's Ronnie Cosby. And now, folks,

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finally time to hear some scatting and the history behind it.

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So to give us a little preview, here is one

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of the greatest scatters, I would say, the greatest scatter

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of all time, the first lady of song, the Queen

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of jazz, the incomparable Ella Fitzgerald.

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Somewhere there's music? How thing the two? Somewhere there's heaven?

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How hide the moon?

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There is no moon above?

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When love is far away? Too till it comes to

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that you love me?

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Is I love you?

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So?

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Where there's music? It's where you are? Somewhere there's heaven?

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How near? How far the darkest night would shine? If

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you would come to me soon? Until you will? I

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still mar? How high the moon? High the moon is

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the name of the song, How high the Moon?

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Though the words may be wrong, we're singing it because

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you ask for it.

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It's so we're swinging it just for you. I high

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the moon? Does it touch the stars? I high the moon?

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Does it reach out to Mars? All the words may

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be wrong to this song, we're asking a Hi Hi

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Hi Hi Hi? Is the moon?

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Boh booby beauty did double be boo dude? Do you

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me hoo do you dumb dumb dumb with me? He

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did you baby for big baba oh b da.

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Bobby building lady did da babo bee do do do

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do ba be beutub bob Bobby baby bomb it Bobby?

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Oh do did you know une boom b.

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Bomb best by my man body ab b b di

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mother that for me? You need not body who knew

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down their baby mamail double me bbe donad I do

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lit new baby mem b bab bid you be mother

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mom ud not money who knew that by mama doubled

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me bid there do you you don't b.

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B bam bam fIF up emill no do it? Do

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you bill?

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Body name be an eddy boy?

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Do you do.

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You do need mo Ma moni ben your mooman bore

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mother ba be the digger the bah blah ba bay

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yeah bah blah blah b ba.

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The other words may be wrong to this song we

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rove to like Hi Hi Higher the Moon.

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Considered by many to be the definitive and greatest scat

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singing song of all time.

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How High is the Moon?

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Ela Fitzgerald, recorded in nineteen forty seven. So, folks, let's

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look at scats singing as we heard with Ella. Scat

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singing or scatting is vocal improvisation with wordless melodies or rhythms,

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nonsense syllables with no real distinguishable words at all in

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most scats. In scats singing, the singer improvises music using

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their voice solely as an instrument rather than as a

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as a speaking media, and scatting can go anywhere from

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pure improv to more pre arranged scatting arrangements like Ella

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did in How High Is the Moon. Scatting's origins go

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back to Irish diddling and German yodeling, but in the

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annals of recorded music, the oldest recorded scat ever released

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is attributed to one Gene Green, who was a singer

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and composer with the nickname the Ragtime King. Gene Green

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was a vaudeville star, and he made some of the

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earliest sound recordings of scat singing, beginning in nineteen eleven

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for Columbia Records and then Victor Records. This rare recording

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I'm about to play, and please bear with me, not

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what I would consider a toe tapper here on the

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ballroom I'm paying due diligence to its historic nature. So

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here people say the first time ever scat King of

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the Bungalows.

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I don't believe the keble fact upon my ancestral home.

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It tells me I'm about the rate of September. You

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00:30:29.319 --> 00:30:32.240
of the wrong among the wrong will be the a

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00:30:32.480 --> 00:30:34.319
bungle away.

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00:30:34.039 --> 00:30:38.200
Of in the threes, where I'll be the relief monarch.

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Over All.

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00:30:41.400 --> 00:30:46.279
My place will be gorillas eight months an him, and these.

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00:30:46.680 --> 00:30:49.960
Who will be ever ready at my claw.

259
00:30:51.839 --> 00:30:55.839
Well, I will be that Kingaaloo, the ruler I on

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00:30:56.079 --> 00:30:57.079
the Bungo.

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00:30:57.400 --> 00:31:00.240
And when I ride across of my de mile on

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that royal fuckle style, when.

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00:31:03.000 --> 00:31:05.960
On the throne, I'll pick my fand then I'll be

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00:31:06.359 --> 00:31:08.960
on my team man, I'll be that lolo.

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Google brand and the king of the Bungleloo. My shrries

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00:31:18.759 --> 00:31:22.440
will be of gold with the block on my seed.

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My candle will the lion's gold away of kill the seed.

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00:31:31.519 --> 00:31:35.480
Let's be the fall paid with ivory and pressure. Sire

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00:31:35.559 --> 00:31:40.559
fling stones and nineteen seven wives. To call my own

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00:31:42.480 --> 00:31:46.559
an elephants a a poster, cause he can pack a

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trunk and the tanger for my footstool on my ever

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loving the role, will.

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00:31:53.440 --> 00:31:57.440
I will be the dee the king Kaola on the

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00:31:57.519 --> 00:32:06.039
Bungalook rookiness when a raga didacle went on the Polkadang

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00:32:06.799 --> 00:32:27.119
in the b b the Magan king of the blind, that.

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Out of signs that over his spine, give me a

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00:32:31.720 --> 00:32:34.920
piece of fire. King on the Bungaloos.

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00:32:41.119 --> 00:32:46.920
That was King of the Bungaloos, recorded believe it or not,

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00:32:47.440 --> 00:32:52.400
one hundred and thirteen years ago, purported to be the

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00:32:52.559 --> 00:32:58.839
first ever scat recording, but the most controversial tale of

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00:32:59.279 --> 00:33:03.279
what may he believed to be the real first scat

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00:33:04.240 --> 00:33:09.440
on records is attributed to Louis Armstrong. Let me play

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00:33:09.599 --> 00:33:15.039
that recording first, then the Armstrong scat story.

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I've got to heben, I mean gams knocking up the

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00:34:45.719 --> 00:34:51.960
fous that he you s got the boy jase in

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00:34:52.159 --> 00:34:55.320
me to leave me. John said, don't you know it?

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00:34:56.159 --> 00:35:01.960
Don't no, I'm knock some you come on and do

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00:35:02.239 --> 00:35:07.119
that k the calling, He say, yet path Pama's out

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00:35:07.199 --> 00:35:12.440
the hem GV is there? He tap to deep burn

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00:35:12.679 --> 00:35:19.639
jeeps up times you need a don't on it one,

291
00:35:21.320 --> 00:35:27.719
you know sheepkeep bursting on that one. You tell us

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00:35:27.880 --> 00:35:32.320
to come on now do that the calling he is

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00:35:32.400 --> 00:35:36.639
the sweet Mama Pama got to the he GV is there.

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00:36:05.880 --> 00:36:12.559
What game I have?

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00:36:16.320 --> 00:36:20.800
Louis Armstrong he be gbs along with his Hot Five,

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recorded back in February of nineteen hundred and twenty six.

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So you heard Louis scat there. Here is the story

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behind that record. Many people consider what happened to be gospel,

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while others say it was not true at all. I'll

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let you be the judge. It was Louie's February nineteen

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twenty six recording of he Begb's whether true or false,

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that is considered at least to be the turning point

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for the medium for scatting. Louie claimed that when he

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was rec recording he Begbi's with his band the Hot Five,

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his sheet music fell off the stand and onto the ground,

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and not knowing the lyrics to the song, he invented

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a gibberish melody to fill the time, expecting the cut

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to be thrown out in the end. But that take

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of the song was the one that was actually released.

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I think, in Louie's words, he could certainly tell it better.

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Louis said, quote, I dropped the paper with the lyrics

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right in the middle of the tune, and I did

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not want to stop and spoil the record, which was

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moving along so wonderfully. So when I dropped the paper,

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I immediately turned back into the horn and started to

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scat just as nothing had happened. When I finished the record,

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I just knew the recording people would throw it out,

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and to my surprise they all came running out of

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the control booth and said leave that in unquote. GBS

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went on to become a national bestseller, and consequently the

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practice of scatting, as we all know, became closely associated

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with Louis Armstrong. It's true when we think of Louis,

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00:38:23.880 --> 00:38:27.880
we do think of scatting. And it's a wonderful story

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00:38:28.079 --> 00:38:31.559
that I just told, true or not, and it's one

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00:38:31.599 --> 00:38:36.000
of the more treasured tales from the jazz era. So

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a little about scatting and its origins here on the

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make Believe ballroom. Let me play one more by Louis Armstrong.

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Then a song that was not intended to be the hit,

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it became.

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All chocolate trumble.

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That's mean because.

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00:39:31.400 --> 00:39:37.960
My hair is clearly, just because my teeth are bully,

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00:39:40.679 --> 00:39:47.159
just because I always well a smile like the dress

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00:39:47.280 --> 00:39:53.840
up in the ladies style because I'm glad, I'm living.

335
00:39:56.960 --> 00:40:00.000
I take troubles all.

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00:40:00.119 --> 00:40:00.920
A smile.

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00:40:02.159 --> 00:40:05.880
Just because my color shaded different.

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00:40:06.039 --> 00:40:08.639
Maybe that's why they called me.

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Don't be bittered, but mama.

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00:40:14.559 --> 00:40:16.840
Has good Oh.

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00:40:18.360 --> 00:40:18.679
My dee.

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00:40:18.880 --> 00:40:22.840
The parents that'd because old.

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00:40:24.360 --> 00:40:27.880
Yod It doesn't want no no.

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00:40:31.840 --> 00:40:37.840
Oh, I didn't love who.

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00:40:39.239 --> 00:40:39.760
Oh better?

346
00:40:40.039 --> 00:40:42.400
That's father Colfisi.

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00:42:09.400 --> 00:42:13.599
On Okay Records. We just heard Shine by Louis Armstrong

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00:42:13.880 --> 00:42:19.920
and his Sebastian New Cotton Club Orchestra Vocal by Louis Armstrong,

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00:42:20.519 --> 00:42:24.920
recorded in Los Angeles, March the ninth, nineteen thirty one,

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And as we move along with this week's edition of

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The Make Believe Ballroom, the song I'm about to Play

352
00:42:33.440 --> 00:42:38.000
was on the A side of a Bluebird record when

353
00:42:38.039 --> 00:42:40.280
it was first released.

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00:43:50.960 --> 00:44:00.119
Wide Haven't seen in December, Long before the springtime is you?

355
00:44:02.159 --> 00:44:07.960
And even though it's snowing, dialets are growing.

356
00:44:09.000 --> 00:44:11.880
I know one sold you?

357
00:44:14.800 --> 00:44:22.440
Why do res a sign every evening whispering your name

358
00:44:23.320 --> 00:44:23.880
as I do?

359
00:44:26.079 --> 00:44:30.599
And why by the feeling stars.

360
00:44:30.440 --> 00:44:31.960
Are on my ceiling?

361
00:44:33.000 --> 00:44:47.559
I no one? So you smile at me, gypsy vial

362
00:44:50.920 --> 00:44:52.440
when you.

363
00:44:53.960 --> 00:44:55.000
Dance with me.

364
00:44:56.360 --> 00:44:59.920
I'm in heaven, when the music may be.

365
00:45:02.960 --> 00:45:04.159
I can see the.

366
00:45:04.320 --> 00:45:10.400
Sun when it's raining, hiding every.

367
00:45:10.280 --> 00:45:18.360
Cloud from my view, and why she rainbows when.

368
00:45:18.280 --> 00:45:19.199
You're in my.

369
00:45:22.280 --> 00:45:22.880
I know?

370
00:45:24.679 --> 00:45:25.320
And So.

371
00:45:36.880 --> 00:45:41.119
I Know Why by Glenn Miller and his orchestra, vocal

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00:45:41.239 --> 00:45:45.920
by Paula Kelly and the Four Modernaires, released in nineteen

373
00:45:46.159 --> 00:45:50.719
forty one, So I Know Why was intended to be

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00:45:50.920 --> 00:45:55.800
a major hit for Glenn Miller and received the distinction

375
00:45:56.000 --> 00:46:00.440
of being the A side of a Bluebird recording. When

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00:46:00.519 --> 00:46:04.119
Miller fans took the record off the turntable and flipped

377
00:46:04.159 --> 00:46:09.119
it to the lesser regarded B side, they heard this tune.

378
00:47:02.119 --> 00:47:05.199
By that taxs what you said.

379
00:47:05.800 --> 00:47:11.199
Step aside, partner, It's my day bending here and listen

380
00:47:11.400 --> 00:47:12.639
to my head.

381
00:47:12.519 --> 00:47:20.000
Version ah really solid tenor six excursion.

382
00:47:22.159 --> 00:47:25.719
Pardon Me boy is at the Chattanooga ju Ju?

383
00:47:26.239 --> 00:47:28.920
Yes, Yes, track twenty nine.

384
00:47:30.360 --> 00:47:35.400
Boy, you can give me a Shane, Can.

385
00:47:35.320 --> 00:47:38.639
You afford to bar chadeno gaju ju?

386
00:47:40.679 --> 00:47:42.039
I got my fare.

387
00:47:43.320 --> 00:47:44.840
And just a trickle to space.

388
00:47:46.679 --> 00:47:50.639
You leave the Pennsylvania stationed bout a quarter to two four,

389
00:47:51.400 --> 00:47:52.599
read the magazine and.

390
00:47:52.679 --> 00:47:56.280
Then you r in Baltimore, tenner and not honor, No,

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00:47:56.360 --> 00:47:57.000
I'm good.

392
00:47:57.880 --> 00:47:58.920
And then you have your.

393
00:47:58.880 --> 00:48:02.840
Having eggs and can when you hit the vessel ball

394
00:48:02.920 --> 00:48:05.960
and ain't do the barn, then you know that Tennessee

395
00:48:06.320 --> 00:48:07.119
is not very.

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00:48:07.079 --> 00:48:12.920

Make Believe Ballroom - 9/20/24 Edition

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