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.

WEBVTT

1
00:00:13.160 --> 00:00:18.800
It's make Believe ballroom time. Put all your cares away.

2
00:00:20.719 --> 00:00:24.640
All the bands are here to bring good cheer your way.

3
00:00:26.559 --> 00:00:33.399
It's make believe ball and time and free to everyone.

4
00:00:34.079 --> 00:00:41.679
It's no time to friend your Dalis said bombs. Close

5
00:00:41.759 --> 00:00:46.280
your eyes and visualize in your solitude.

6
00:00:47.399 --> 00:00:51.799
Your favorite bands are on the stands and mister Miller,

7
00:00:51.920 --> 00:00:53.000
but you're in the mood.

8
00:00:53.079 --> 00:00:55.479
It's make Believe ballroom time.

9
00:00:56.439 --> 00:00:59.200
We are a sweet romance.

10
00:01:00.600 --> 00:01:02.320
As you make the bottle.

11
00:01:02.759 --> 00:01:05.920
Come on, Joe the last dast last ess.

12
00:01:08.159 --> 00:01:11.120
Hi, folks, I'm Jeff Pressler, turning on the lights of

13
00:01:11.239 --> 00:01:14.640
the Make Believe Ballroom and welcoming you into my crystal

14
00:01:14.799 --> 00:01:19.040
studio for yet another hour of the greatest swing, jazz

15
00:01:19.120 --> 00:01:22.760
and big band hits of the nineteen thirties and nineteen forties.

16
00:01:23.319 --> 00:01:26.480
I'm hosting the show to keep the music in traditions

17
00:01:26.519 --> 00:01:31.200
of past hosts Martin block Al, Jarvis William B. Williams

18
00:01:31.280 --> 00:01:35.040
in the legendary Steve Allen alive. Whether you're one of

19
00:01:35.079 --> 00:01:38.359
my longtime listeners, or maybe you're tuning in for the

20
00:01:38.439 --> 00:01:42.040
first time today, I invite you all to join me

21
00:01:42.519 --> 00:01:45.280
for some of the greatest jazz and swing hits from

22
00:01:45.319 --> 00:01:49.519
the Big Band era. Hello world, and to welcome one

23
00:01:49.599 --> 00:01:52.120
and all into the make Believe ballroom, coming to you

24
00:01:52.400 --> 00:01:56.560
coast to coast and across the Atlantic Ocean on stations

25
00:01:56.680 --> 00:02:01.879
like Members Supported Jazz ninety point one WGMC in Rochester,

26
00:02:02.239 --> 00:02:05.879
New York, and on other fine affiliates across the US

27
00:02:06.040 --> 00:02:10.039
as well as in the United Kingdom. So let's head

28
00:02:10.879 --> 00:02:15.280
right to the Victrola to spin our first platter on

29
00:02:15.479 --> 00:02:19.360
today's show. This is an old time tune with a

30
00:02:19.479 --> 00:02:23.960
modern update, well modern at least if you were living

31
00:02:24.120 --> 00:04:14.120
in nineteen forty. That was Shine on Harvest Moon Jimmy

32
00:04:14.199 --> 00:04:18.959
Dorsey and his orchestra with that swing version recorded as

33
00:04:19.040 --> 00:04:24.040
I mentioned earlier in nineteen forty, the song Shine on

34
00:04:24.399 --> 00:04:29.040
Harvest Moon actually became a major hit at the Zigfield

35
00:04:29.160 --> 00:04:35.319
Follies of nineteen eight. Folks in just a few moments,

36
00:04:35.399 --> 00:04:38.560
a singer who performed with one of the greatest bands

37
00:04:38.639 --> 00:04:41.079
of the Big Band era for a decade. Yet you

38
00:04:41.319 --> 00:04:45.920
might not be that familiar with her. But first, let's

39
00:04:45.959 --> 00:04:50.959
play one more oldie Bud Goodie that takes us originally

40
00:04:51.040 --> 00:04:55.600
back to nineteen eleven. This song was not his first ever,

41
00:04:56.439 --> 00:05:00.120
but it is the tune that brought the legend and

42
00:05:00.199 --> 00:05:03.560
derry songwriter Irving Berlin to prominence.

43
00:05:08.879 --> 00:05:18.399
Come on in, oh ma honey, oh my honey, better

44
00:05:18.519 --> 00:05:21.199
hurry and let's Riander as.

45
00:05:21.040 --> 00:05:21.439
You go in.

46
00:05:22.079 --> 00:05:22.720
Ain't you go in?

47
00:05:23.319 --> 00:05:25.480
Do the leader man raged a man?

48
00:05:25.920 --> 00:05:27.839
O my honey, Oh ma honey.

49
00:05:28.480 --> 00:05:29.399
Let me take you to.

50
00:05:29.560 --> 00:05:32.959
Alexander's grand stand rad Span.

51
00:05:33.639 --> 00:05:34.879
Ain't you coming along?

52
00:05:35.560 --> 00:05:36.199
Come on here?

53
00:05:36.920 --> 00:05:41.319
Go on here Anaxander's rag coon man, come on here,

54
00:05:41.959 --> 00:05:42.680
come on here.

55
00:05:43.360 --> 00:05:46.160
He's the best man in the last than last.

56
00:05:45.959 --> 00:05:48.279
Pupil like you never heard you go.

57
00:05:49.240 --> 00:05:51.120
That's the natural that you want to go to war.

58
00:05:51.920 --> 00:05:54.240
That's just the bestest man for them.

59
00:05:54.480 --> 00:05:58.319
Harland, come on along, come on along.

60
00:05:59.360 --> 00:06:00.759
Let me take you by the hand.

61
00:06:00.879 --> 00:06:05.160
I to thom Man, to the man who's the leader.

62
00:06:05.079 --> 00:06:05.959
Of the band.

63
00:06:06.800 --> 00:06:12.439
If you want to hear that swanny music made in ragtime.

64
00:06:11.839 --> 00:06:15.480
Come on him, come on him, come on here, Rammy

65
00:06:15.560 --> 00:06:18.959
Danders rag time band, come on him, come on him,

66
00:06:19.519 --> 00:06:20.319
Come on here.

67
00:06:20.279 --> 00:06:22.079
Rammy Danner's rag time ban.

68
00:07:12.120 --> 00:07:13.959
Come on here, come on in here.

69
00:07:14.120 --> 00:07:19.199
And Lexander's read Tom bass come on here, come on here.

70
00:07:19.680 --> 00:07:23.839
It's best man in the land that you like you

71
00:07:23.959 --> 00:07:24.839
never had before.

72
00:07:25.279 --> 00:07:26.240
Listen aural, let.

73
00:07:26.199 --> 00:07:27.439
You want to go to walk.

74
00:07:28.279 --> 00:07:30.000
That's just the best man.

75
00:07:30.120 --> 00:07:31.560
What'm honey?

76
00:07:31.720 --> 00:07:32.000
Last?

77
00:07:33.079 --> 00:07:36.600
Come on along, come on along, let me take you five.

78
00:07:36.879 --> 00:07:39.120
The man I choose the man.

79
00:07:39.240 --> 00:07:42.399
I choose the man. Who's the leader? Rob band?

80
00:07:48.839 --> 00:07:52.399
Come on along, Come on along, fall and down the

81
00:07:52.480 --> 00:07:58.839
man right down pants, come on along, hillow around.

82
00:08:01.800 --> 00:08:04.160
Called the Sanders Rack Home Band.

83
00:08:05.680 --> 00:08:10.199
On Brunswick Records. That was the wonderful Boswell Sisters with

84
00:08:10.360 --> 00:08:16.079
Alexander's Ragtime Band, an updated version of the Berlin Standard

85
00:08:16.759 --> 00:08:22.360
recorded in nineteen thirty four. Friends, when we think of

86
00:08:22.560 --> 00:08:27.240
the music of Duke Ellington, we often overlooked it. For

87
00:08:27.399 --> 00:08:34.159
ten years, Ivy Anderson performed as his vocalist. She was

88
00:08:34.240 --> 00:08:38.960
the first singer Ellington ever hired, and what a hire

89
00:08:39.039 --> 00:08:43.080
it was, because in nineteen thirty two, the years she

90
00:08:43.279 --> 00:08:47.240
started working for Duke, she produced the vocal for this

91
00:08:47.759 --> 00:08:48.759
Ellington hit.

92
00:08:50.919 --> 00:08:51.720
What ya Doo?

93
00:08:53.080 --> 00:08:53.720
What do?

94
00:08:55.360 --> 00:08:57.240
What d DoD d do?

95
00:09:36.120 --> 00:09:37.559
It don't mean a thing?

96
00:09:38.240 --> 00:09:38.480
Give it?

97
00:09:38.639 --> 00:09:43.200
I got that thing af.

98
00:09:44.960 --> 00:09:46.440
It don't mean a thing.

99
00:09:47.120 --> 00:09:55.879
All imagine do is things I may not epresent between

100
00:09:56.000 --> 00:10:00.320
the hut. Just keep that rhythm, give it every then

101
00:10:00.399 --> 00:10:04.120
you not. It don't mean nothing.

102
00:10:04.840 --> 00:11:42.519
If I got that thingla but It don't mean nothing.

103
00:11:42.840 --> 00:11:44.799
If it ain't that thing.

104
00:11:56.440 --> 00:11:59.879
On Brunswick Records. We just heard one of Duke elling

105
00:12:00.360 --> 00:12:03.919
best remembered songs, It don't mean a thing if it

106
00:12:04.039 --> 00:12:08.960
ain't got that swing, featuring the vocal of Ivy Anderson,

107
00:12:09.080 --> 00:12:12.360
who we are paying a mini tribute to here today

108
00:12:12.639 --> 00:12:17.000
on the Make Believe Ballroom. Many vocalists during the Big

109
00:12:17.120 --> 00:12:22.600
band era moved from band to band, but Ivy Anderson

110
00:12:23.039 --> 00:12:29.000
never recorded for anyone else other than Ellington. A decade

111
00:12:29.159 --> 00:12:34.159
with Duke probably could have been extended, but Ivy Ivy

112
00:12:34.240 --> 00:12:39.279
Anderson had a health issue. You know, sometimes we think

113
00:12:39.679 --> 00:12:45.159
of the nineteen thirties and forties as a kinder, gentler time,

114
00:12:46.120 --> 00:12:49.000
but you know, when it came to healthcare and physical issues,

115
00:12:49.440 --> 00:12:54.799
many problems that are either manageable or curable today with

116
00:12:55.279 --> 00:13:02.240
medications or surgery or lifestyle check that really didn't exist

117
00:13:02.679 --> 00:13:08.080
back then. Ivy had a bad case of chronic asthma,

118
00:13:08.240 --> 00:13:12.799
which forced her to leave Ellington's band in nineteen forty two.

119
00:13:13.799 --> 00:13:18.000
So Ivy went back home to California, and in Los

120
00:13:18.080 --> 00:13:22.720
Angeles she started a restaurant with her then husband called

121
00:13:22.759 --> 00:13:27.240
The Chicken Shack. It was very, very popular in La,

122
00:13:28.360 --> 00:13:31.799
but Ivy's health continued to deteriorate and she had to

123
00:13:31.879 --> 00:13:37.039
give up the restaurant. Unfortunately, she passed away from asthma

124
00:13:37.279 --> 00:13:41.559
related problems in nineteen forty nine, at the young age

125
00:13:41.600 --> 00:13:46.360
of forty five. But fortunately we still have her wonderful

126
00:13:46.519 --> 00:13:50.879
voice on record for generations to come to enjoy.

127
00:14:18.960 --> 00:14:20.559
Don't don't don't do.

128
00:14:53.360 --> 00:14:57.679
Very well. Land of cotton. Cotton is out of style.

129
00:14:58.360 --> 00:15:04.759
An child jumper, all don't you breathe little leave All

130
00:15:04.879 --> 00:15:09.200
the hounds I do be sieve have been killed and thrilled,

131
00:15:09.559 --> 00:15:18.200
Jump for jow. Have you seen pastures movies? Greed in

132
00:15:18.440 --> 00:15:23.600
Pastures was just a techno color movie. When you stop

133
00:15:24.039 --> 00:15:27.799
up to heaven and ju be old Saint Petere' tell

134
00:15:27.919 --> 00:15:32.600
that boy jump for joy, Step right in and give

135
00:15:32.720 --> 00:15:34.759
meat some skin and jump for joy.

136
00:16:45.120 --> 00:16:49.320
That was Ivy Anderson with the Duke Ellington famous orchestra

137
00:16:49.559 --> 00:16:55.679
singing Jumping for Joy, recorded in December of nineteen forty one.

138
00:16:55.799 --> 00:16:59.480
So a little mini tribute to the vocalist Ivy Anderson.

139
00:17:00.279 --> 00:17:03.159
And when I played it, don't mean a thing if

140
00:17:03.200 --> 00:17:06.920
it ain't got that swing. We hear Ivy scatting a

141
00:17:07.039 --> 00:17:11.680
little What was scatting? And what is the fact and

142
00:17:11.920 --> 00:17:15.799
fiction behind that form of singing. I'm going to tell

143
00:17:15.839 --> 00:17:17.119
you that after.

144
00:17:17.079 --> 00:18:33.480
This, he's a Gurbstone cuty, his mama's fright end beauty.

145
00:18:33.920 --> 00:18:36.759
They call him jelly bean parts. He's hair in the

146
00:18:36.799 --> 00:18:40.160
veddle and clashes it down, scatters little jelly beans all

147
00:18:40.200 --> 00:18:42.599
around town. Why the boys all love him? They think

148
00:18:42.640 --> 00:18:45.680
he's a riot. If you know what I mean, I

149
00:18:45.799 --> 00:18:49.759
won't drink that beefold beer wine eats ice cream soldiers,

150
00:18:49.799 --> 00:18:53.119
But all the time I'm a Gerbstone beauty, mama's fright

151
00:18:53.200 --> 00:18:56.400
and beauty. They call him jail Levian. I mean, they

152
00:18:56.480 --> 00:19:32.240
call him jail living. He's a Girbstone beauty, his mama's

153
00:19:32.279 --> 00:19:35.720
fridend beauty. They call him the jelly bean parts. His

154
00:19:35.799 --> 00:19:38.519
area in the bed and then flashes him down, scatters

155
00:19:38.599 --> 00:19:41.200
little jelly beans all around town. Why the boys all

156
00:19:41.279 --> 00:19:43.519
love him? They think he's a riot. If you know

157
00:19:43.960 --> 00:19:47.200
what I mean, I won't drink that be bolt bear

158
00:19:47.279 --> 00:19:50.279
of wine, just keeps sat ice cream all the time

159
00:19:50.559 --> 00:19:54.039
of Girdlestone beauty, mama's frightened beauty. And they call him

160
00:19:54.079 --> 00:19:56.839
jealy Bean. I mean jeal.

161
00:20:07.759 --> 00:20:11.759
We just heard jelly Bean by Phil Harrison his orchestra

162
00:20:11.920 --> 00:20:16.440
Vocal by Phil, recorded in Los Angeles, December seventeenth, nineteen

163
00:20:16.799 --> 00:20:20.799
thirty six. I'm Jeff Bresler, and I am delighted that

164
00:20:20.960 --> 00:20:23.359
you are joining me today on the one, the only,

165
00:20:23.559 --> 00:20:29.960
the original Make Believe Ballroom broadcasting almost continuously since nineteen

166
00:20:30.160 --> 00:20:34.839
thirty five. To reach me with a request or observation,

167
00:20:35.119 --> 00:20:39.400
I'm Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff

168
00:20:39.480 --> 00:20:44.400
at MakeBelieve Ballroomradio dot com. And if folks, I was

169
00:20:44.480 --> 00:20:48.160
going to talk about scatting, and I will do that

170
00:20:48.400 --> 00:20:52.519
in just a moment, but since I just mentioned requests,

171
00:20:53.279 --> 00:20:56.960
and before I forget or don't have the time to

172
00:20:57.160 --> 00:21:00.119
do it, I want to read an email request I

173
00:21:00.279 --> 00:21:06.559
received this week from Ronnie Cosby, who listens in Sleepy Hollow,

174
00:21:06.880 --> 00:21:12.880
New York. And Ronnie's email was certainly straight into the point.

175
00:21:14.000 --> 00:21:17.960
It reads, Jeff, can you play my late dad's favorite

176
00:21:18.079 --> 00:21:23.839
song Harry James Flash so for you Ronnie, and does

177
00:21:23.920 --> 00:21:26.480
a tribute to your late dad.

178
00:22:20.000 --> 00:23:39.920
Shut Him?

179
00:24:24.880 --> 00:24:29.480
Released in nineteen thirty nine on Columbia Records, Harry James

180
00:24:29.599 --> 00:24:34.519
and his orchestra with Flash played expressly here today on

181
00:24:34.680 --> 00:24:40.200
the make Believe Ballroom for New York's Ronnie Cosby. And now, folks,

182
00:24:40.400 --> 00:24:44.640
finally time to hear some scatting and the history behind it.

183
00:24:45.279 --> 00:24:48.640
So to give us a little preview, here is one

184
00:24:48.720 --> 00:24:52.319
of the greatest scatters, I would say, the greatest scatter

185
00:24:52.599 --> 00:24:55.960
of all time, the first lady of song, the Queen

186
00:24:56.039 --> 00:24:59.920
of jazz, the incomparable Ella Fitzgerald.

187
00:25:05.640 --> 00:25:13.200
Somewhere there's music? How thing the two? Somewhere there's heaven?

188
00:25:14.440 --> 00:25:15.799
How hide the moon?

189
00:25:17.279 --> 00:25:19.079
There is no moon above?

190
00:25:19.200 --> 00:25:23.920
When love is far away? Too till it comes to

191
00:25:25.720 --> 00:25:26.880
that you love me?

192
00:25:27.279 --> 00:25:28.279
Is I love you?

193
00:25:28.640 --> 00:25:28.680
So?

194
00:25:29.039 --> 00:25:36.640
Where there's music? It's where you are? Somewhere there's heaven?

195
00:25:37.839 --> 00:25:43.079
How near? How far the darkest night would shine? If

196
00:25:43.119 --> 00:25:47.880
you would come to me soon? Until you will? I

197
00:25:48.039 --> 00:25:56.160
still mar? How high the moon? High the moon is

198
00:25:56.240 --> 00:25:59.519
the name of the song, How high the Moon?

199
00:26:00.240 --> 00:26:04.599
Though the words may be wrong, we're singing it because

200
00:26:04.720 --> 00:26:05.680
you ask for it.

201
00:26:06.160 --> 00:26:11.799
It's so we're swinging it just for you. I high

202
00:26:11.920 --> 00:26:16.680
the moon? Does it touch the stars? I high the moon?

203
00:26:17.319 --> 00:26:20.440
Does it reach out to Mars? All the words may

204
00:26:20.599 --> 00:26:24.799
be wrong to this song, we're asking a Hi Hi

205
00:26:25.160 --> 00:26:27.119
Hi Hi Hi? Is the moon?

206
00:26:27.839 --> 00:26:34.039
Boh booby beauty did double be boo dude? Do you

207
00:26:35.279 --> 00:26:39.039
me hoo do you dumb dumb dumb with me? He

208
00:26:39.200 --> 00:26:43.799
did you baby for big baba oh b da.

209
00:26:43.920 --> 00:26:48.680
Bobby building lady did da babo bee do do do

210
00:26:48.880 --> 00:26:55.400
do ba be beutub bob Bobby baby bomb it Bobby?

211
00:26:56.039 --> 00:26:58.920
Oh do did you know une boom b.

212
00:26:59.319 --> 00:27:05.240
Bomb best by my man body ab b b di

213
00:27:05.359 --> 00:27:09.359
mother that for me? You need not body who knew

214
00:27:10.200 --> 00:27:15.519
down their baby mamail double me bbe donad I do

215
00:27:15.680 --> 00:27:22.839
lit new baby mem b bab bid you be mother

216
00:27:23.359 --> 00:27:30.039
mom ud not money who knew that by mama doubled

217
00:27:30.079 --> 00:27:33.680
me bid there do you you don't b.

218
00:27:33.880 --> 00:27:42.960
B bam bam fIF up emill no do it? Do

219
00:27:43.359 --> 00:27:44.119
you bill?

220
00:27:44.200 --> 00:27:49.279
Body name be an eddy boy?

221
00:27:49.920 --> 00:27:50.559
Do you do.

222
00:27:52.400 --> 00:27:57.000
You do need mo Ma moni ben your mooman bore

223
00:27:57.160 --> 00:28:01.000
mother ba be the digger the bah blah ba bay

224
00:28:01.039 --> 00:28:02.640
yeah bah blah blah b ba.

225
00:28:03.079 --> 00:28:06.640
The other words may be wrong to this song we

226
00:28:06.880 --> 00:28:10.759
rove to like Hi Hi Higher the Moon.

227
00:28:13.079 --> 00:28:16.920
Considered by many to be the definitive and greatest scat

228
00:28:17.160 --> 00:28:19.079
singing song of all time.

229
00:28:19.359 --> 00:28:21.119
How High is the Moon?

230
00:28:21.680 --> 00:28:27.880
Ela Fitzgerald, recorded in nineteen forty seven. So, folks, let's

231
00:28:28.039 --> 00:28:33.160
look at scats singing as we heard with Ella. Scat

232
00:28:33.359 --> 00:28:40.680
singing or scatting is vocal improvisation with wordless melodies or rhythms,

233
00:28:41.440 --> 00:28:47.240
nonsense syllables with no real distinguishable words at all in

234
00:28:47.400 --> 00:28:53.920
most scats. In scats singing, the singer improvises music using

235
00:28:54.160 --> 00:28:57.720
their voice solely as an instrument rather than as a

236
00:28:58.759 --> 00:29:02.960
as a speaking media, and scatting can go anywhere from

237
00:29:03.039 --> 00:29:08.680
pure improv to more pre arranged scatting arrangements like Ella

238
00:29:08.759 --> 00:29:13.319
did in How High Is the Moon. Scatting's origins go

239
00:29:13.519 --> 00:29:18.400
back to Irish diddling and German yodeling, but in the

240
00:29:18.559 --> 00:29:25.480
annals of recorded music, the oldest recorded scat ever released

241
00:29:26.240 --> 00:29:30.559
is attributed to one Gene Green, who was a singer

242
00:29:30.720 --> 00:29:35.960
and composer with the nickname the Ragtime King. Gene Green

243
00:29:36.759 --> 00:29:38.960
was a vaudeville star, and he made some of the

244
00:29:39.079 --> 00:29:43.480
earliest sound recordings of scat singing, beginning in nineteen eleven

245
00:29:44.240 --> 00:29:49.680
for Columbia Records and then Victor Records. This rare recording

246
00:29:49.720 --> 00:29:53.079
I'm about to play, and please bear with me, not

247
00:29:53.359 --> 00:29:57.119
what I would consider a toe tapper here on the

248
00:29:57.200 --> 00:30:03.039
ballroom I'm paying due diligence to its historic nature. So

249
00:30:03.240 --> 00:30:07.480
here people say the first time ever scat King of

250
00:30:07.680 --> 00:30:08.799
the Bungalows.

251
00:30:20.039 --> 00:30:24.680
I don't believe the keble fact upon my ancestral home.

252
00:30:25.440 --> 00:30:29.079
It tells me I'm about the rate of September. You

253
00:30:29.319 --> 00:30:32.240
of the wrong among the wrong will be the a

254
00:30:32.480 --> 00:30:34.319
bungle away.

255
00:30:34.039 --> 00:30:38.200
Of in the threes, where I'll be the relief monarch.

256
00:30:38.400 --> 00:30:39.640
Over All.

257
00:30:41.400 --> 00:30:46.279
My place will be gorillas eight months an him, and these.

258
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

260
00:30:56.079 --> 00:30:57.079
the Bungo.

261
00:30:57.400 --> 00:31:00.240
And when I ride across of my de mile on

262
00:31:00.519 --> 00:31:03.119
that royal fuckle style, when.

263
00:31:03.000 --> 00:31:05.960
On the throne, I'll pick my fand then I'll be

264
00:31:06.359 --> 00:31:08.960
on my team man, I'll be that lolo.

265
00:31:09.240 --> 00:31:18.599
Google brand and the king of the Bungleloo. My shrries

266
00:31:18.759 --> 00:31:22.440
will be of gold with the block on my seed.

267
00:31:23.240 --> 00:31:30.440
My candle will the lion's gold away of kill the seed.

268
00:31:31.519 --> 00:31:35.480
Let's be the fall paid with ivory and pressure. Sire

269
00:31:35.559 --> 00:31:40.559
fling stones and nineteen seven wives. To call my own

270
00:31:42.480 --> 00:31:46.559
an elephants a a poster, cause he can pack a

271
00:31:46.759 --> 00:31:51.359
trunk and the tanger for my footstool on my ever

272
00:31:51.440 --> 00:31:53.440
loving the role, will.

273
00:31:53.440 --> 00:31:57.440
I will be the dee the king Kaola on the

274
00:31:57.519 --> 00:32:06.039
Bungalook rookiness when a raga didacle went on the Polkadang

275
00:32:06.799 --> 00:32:27.119
in the b b the Magan king of the blind, that.

276
00:32:29.000 --> 00:32:31.640
Out of signs that over his spine, give me a

277
00:32:31.720 --> 00:32:34.920
piece of fire. King on the Bungaloos.

278
00:32:41.119 --> 00:32:46.920
That was King of the Bungaloos, recorded believe it or not,

279
00:32:47.440 --> 00:32:52.400
one hundred and thirteen years ago, purported to be the

280
00:32:52.559 --> 00:32:58.839
first ever scat recording, but the most controversial tale of

281
00:32:59.279 --> 00:33:03.279
what may he believed to be the real first scat

282
00:33:04.240 --> 00:33:09.440
on records is attributed to Louis Armstrong. Let me play

283
00:33:09.599 --> 00:33:15.039
that recording first, then the Armstrong scat story.

284
00:34:41.840 --> 00:34:45.639
I've got to heben, I mean gams knocking up the

285
00:34:45.719 --> 00:34:51.960
fous that he you s got the boy jase in

286
00:34:52.159 --> 00:34:55.320
me to leave me. John said, don't you know it?

287
00:34:56.159 --> 00:35:01.960
Don't no, I'm knock some you come on and do

288
00:35:02.239 --> 00:35:07.119
that k the calling, He say, yet path Pama's out

289
00:35:07.199 --> 00:35:12.440
the hem GV is there? He tap to deep burn

290
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

292
00:35:27.880 --> 00:35:32.320
to come on now do that the calling he is

293
00:35:32.400 --> 00:35:36.639
the sweet Mama Pama got to the he GV is there.

294
00:36:05.880 --> 00:36:12.559
What game I have?

295
00:36:16.320 --> 00:36:20.800
Louis Armstrong he be gbs along with his Hot Five,

296
00:36:20.960 --> 00:36:25.440
recorded back in February of nineteen hundred and twenty six.

297
00:36:26.360 --> 00:36:30.360
So you heard Louis scat there. Here is the story

298
00:36:30.599 --> 00:36:35.639
behind that record. Many people consider what happened to be gospel,

299
00:36:36.280 --> 00:36:39.440
while others say it was not true at all. I'll

300
00:36:39.519 --> 00:36:44.519
let you be the judge. It was Louie's February nineteen

301
00:36:44.719 --> 00:36:50.239
twenty six recording of he Begb's whether true or false,

302
00:36:50.400 --> 00:36:54.000
that is considered at least to be the turning point

303
00:36:54.119 --> 00:36:59.400
for the medium for scatting. Louie claimed that when he

304
00:36:59.599 --> 00:37:03.239
was rec recording he Begbi's with his band the Hot Five,

305
00:37:04.039 --> 00:37:08.519
his sheet music fell off the stand and onto the ground,

306
00:37:09.559 --> 00:37:13.159
and not knowing the lyrics to the song, he invented

307
00:37:13.239 --> 00:37:19.280
a gibberish melody to fill the time, expecting the cut

308
00:37:19.400 --> 00:37:22.840
to be thrown out in the end. But that take

309
00:37:23.079 --> 00:37:26.800
of the song was the one that was actually released.

310
00:37:26.840 --> 00:37:31.199
I think, in Louie's words, he could certainly tell it better.

311
00:37:32.400 --> 00:37:37.079
Louis said, quote, I dropped the paper with the lyrics

312
00:37:37.239 --> 00:37:40.000
right in the middle of the tune, and I did

313
00:37:40.079 --> 00:37:43.280
not want to stop and spoil the record, which was

314
00:37:43.480 --> 00:37:47.960
moving along so wonderfully. So when I dropped the paper,

315
00:37:48.639 --> 00:37:51.760
I immediately turned back into the horn and started to

316
00:37:51.920 --> 00:37:56.960
scat just as nothing had happened. When I finished the record,

317
00:37:57.079 --> 00:37:59.880
I just knew the recording people would throw it out,

318
00:38:00.679 --> 00:38:03.639
and to my surprise they all came running out of

319
00:38:03.679 --> 00:38:09.599
the control booth and said leave that in unquote. GBS

320
00:38:09.639 --> 00:38:13.800
went on to become a national bestseller, and consequently the

321
00:38:14.400 --> 00:38:19.119
practice of scatting, as we all know, became closely associated

322
00:38:19.280 --> 00:38:23.800
with Louis Armstrong. It's true when we think of Louis,

323
00:38:23.880 --> 00:38:27.880
we do think of scatting. And it's a wonderful story

324
00:38:28.079 --> 00:38:31.559
that I just told, true or not, and it's one

325
00:38:31.599 --> 00:38:36.000
of the more treasured tales from the jazz era. So

326
00:38:36.119 --> 00:38:39.360
a little about scatting and its origins here on the

327
00:38:39.440 --> 00:38:43.239
make Believe ballroom. Let me play one more by Louis Armstrong.

328
00:38:43.440 --> 00:38:47.800
Then a song that was not intended to be the hit,

329
00:38:48.000 --> 00:38:49.039
it became.

330
00:39:26.400 --> 00:39:27.639
All chocolate trumble.

331
00:39:27.719 --> 00:39:29.960
That's mean because.

332
00:39:31.400 --> 00:39:37.960
My hair is clearly, just because my teeth are bully,

333
00:39:40.679 --> 00:39:47.159
just because I always well a smile like the dress

334
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.

336
00:40:00.119 --> 00:40:00.920
A smile.

337
00:40:02.159 --> 00:40:05.880
Just because my color shaded different.

338
00:40:06.039 --> 00:40:08.639
Maybe that's why they called me.

339
00:40:09.239 --> 00:40:11.440
Don't be bittered, but mama.

340
00:40:14.559 --> 00:40:16.840
Has good Oh.

341
00:40:18.360 --> 00:40:18.679
My dee.

342
00:40:18.880 --> 00:40:22.840
The parents that'd because old.

343
00:40:24.360 --> 00:40:27.880
Yod It doesn't want no no.

344
00:40:31.840 --> 00:40:37.840
Oh, I didn't love who.

345
00:40:39.239 --> 00:40:39.760
Oh better?

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

347
00:42:09.400 --> 00:42:13.599
On Okay Records. We just heard Shine by Louis Armstrong

348
00:42:13.880 --> 00:42:19.920
and his Sebastian New Cotton Club Orchestra Vocal by Louis Armstrong,

349
00:42:20.519 --> 00:42:24.920
recorded in Los Angeles, March the ninth, nineteen thirty one,

350
00:42:26.119 --> 00:42:29.920
And as we move along with this week's edition of

351
00:42:30.039 --> 00:42:32.920
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.

354
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

372
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

374
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

376
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,

391
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.

396
00:48:07.079 --> 00:48:12.920