Sept. 26, 2025
Make Believe Ballroom - 9/26/25 Edition
The Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s.
On this week's program: Lionel Hampton changes instruments, a unique big band business model, Charlie Christian and his electric audition, a cartoonish big band - plus many more great records and stories to cherish and enjoy on this week's broadcast.
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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 Belief.
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Ballom time and free to everyone. It's no time to
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friend your Dalis said bombs.
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Close your eyes and visual lize in your solitude.
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Your favorite bands are on this stance and.
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Mister Miller, but you in the wood.
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It's make Believe Ballom time. We are a sweet romance.
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As you make lave bother.
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Come on, gentle, last dance.
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Last, Hello world. I'm Jeff Presler, turning on the lights
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of the Make Believe Ballroom and welcoming you into my
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Crystal studio for another program of classic big band hits
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from the nineteen thirties and nineteen forties. Get ready as
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I play for you some amazing big band jazz, swing, blues,
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and boogie woogie favorites. Folks, you're listening to the Make
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Believe Ballroom, broadcasting almost continuously since nineteen thirty five, My friends,
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and welcome into my Crystal studio for another week of
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big band music. And I start things off today with
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this swing in number in full throttle.
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This st them became.
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Scaca on Bluebird Records. Traffic jam Artie Shaw and his
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orchestra recorded in Hollywood, California, Dune the twelfth, nineteen thirty nine.
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And I am assuming that Artie and company were in
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a Hollywood recording studio for that one, because around the
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same time he was filming the movie Dancing co Ed's
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which was released in September of that year, and in
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that movie, which you could still watch on YouTube, Artie
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Shaw and his orchestra appeared as themselves in the movie.
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Let Me play another Artie Shaw tune that was featured
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in that motion picture.
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First the Liquor Down Boy.
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First the Liquor down Boy, shoots the licker too, down Boy, Shoot.
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You to Him?
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Shoot You to Him? Had later.
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Already Shaw and his new music with a vocal by
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Leo Watson, recorded September seventeenth, nineteen thirty seven. Shoot the
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Liquor to Me, John Boy, recorded on the Brunswick label.
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And Already Shaw Double Dip to get things underway on
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Today's Make Believe ball Room Friends. Let me play one
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more record the listeners Email, recorded in New York City
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on April twenty six, nineteen thirty seven. Rhythm rhythm Lionel
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Hampton and his Orchestra recorded by Victor Records. I'm Jeff Presler,
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and you're listening to the one, the only, the original
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Make Believe Ballroom emanating from the Crystal Studio. You know,
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I promised a listener's email, but I'm going to hold
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that in abeyance for a few minutes because while playing
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the Hampton record, the Lionel Hampton Record, I wanted to
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take a minute to discuss Lionel and a historic recording
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he made with Louis Armstrong back in nineteen thirty. Now,
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Lionel Hampton, up to that point was better known as
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a jazz drummer than a vibist. Of course, Hampton went
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on to become the greatest vibraphonist on the entire planet.
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And you know, it's interesting the history of the vibraphone. Initially,
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the vibraphone, which was by standards really at that time,
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back in nineteen thirty a modern instrument because it wasn't
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invented until nineteen sixteen, and from its invention on it
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was primarily used for more as a musical novelty instrument
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in vaudeville performances. So in nineteen thirty, the vibraphone was
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beginning to move from the vaudeville stage to jazz music.
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And I don't know if the facts behind this story
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are one hundred percent true, but as it went, at
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one recording session with Louis Armstrong, Lionel Hampton was asked
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to play a vibraphone that, it is alleged, had been
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left behind in the studio. Now, Lionel had toyed with
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the vibraphone in the past when he discovered one in
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a music store, So this ultimately resulted in the recording
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of the song Memories of You in nineteen thirty, containing
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what is considered to be the first instance of an
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improvised vibraphone solo. Again, I don't know if that's exactly
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as things went some recollections I have read or a
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little different. But in the Okay Records recording studio that session,
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one thing is certain. The record I am about to
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play is the first time a vibraphone was ever heard
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on a jazz seventy eight rpm disc.
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A work against Guys at Sunrise.
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Every since that too, they seems to be bringing me.
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Mama Ree love you.
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No Honey, here and there everywhere scene that we once knew,
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Oh I'm very wrong.
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Just recall I am a reason of you, ladies.
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How I wish I could forget those happy as to
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you as there is, and I've left the rosary out
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tears roll. There is this, your faith, bes and my dreams.
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Despite of all I do, our buddy, everything seeds a
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ring m I'm all reason of you.
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From Okay Records, Memories of You by Louis Armstrong and
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his Sebastian New Cotton Club Orchestra, recorded in Los Angeles,
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October sixteenth, nineteen thirty and Lionel Hampton's vibe opening must
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have pleasantly surprised many listeners to that recording. You may
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not be pleasantly surprised, but I hope you're at least
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delighted to be listening to the one, the only, the
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original Make Believe Ballroom. And one person who was perhaps
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delighted with last week's program was one Stuart Fox, who
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listens on KFQX, and he writes, Jeff quick note, I
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enjoyed your discussion last week on bands that financially failed.
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As you said, artistic successes but financial failures. I know
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from reading that the Castle Law Orchestra had a blueprint
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for success that kept them around for a long time.
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Can you play some Cassoloma and let us know how
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they remained monetarily sound. Enjoy the show and that signed STU.
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Thank you so much, Stewart. The Cassoloma Orchestra did stay
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financially sound for many years, not just due to a
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unique style of management, but also the kind of music
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they played. The Cassoloma Stomp was one of the signature
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numbers of the Cassoloma Orchestra, recorded back in nineteen thirty
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and released on the Okay label. Now what made this
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record special is that Cassoloma Stomp is often cited as
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one of the earliest examples of the emergence of swing,
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prior to Benny Goodman and Fletcher Henderson's arrangements. That well,
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that brought swing fully into the national spotlight a few
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years after that. Let me play cass Alma Stomp, then
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the story of the bands organization. That was not the
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original Okay recording, but rather a Victor recording of Castloma
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Stomp by the Castloma Orchestra, recorded in New York City
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February seventeenth, nineteen thirty three. I think they recorded the
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song two or three times. So, folks, a quick question
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about Castloma Stomp. What song did parts of that record resemble? Well,
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how about a little California Here I Come. The Cassloma Stomp,
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it was said, was built on the same Well, it
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was built on the same melodic and rhythmic framework as
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California Here I Come, and obviously was recast as a
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riff driven jazz stomper to be used as part of
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the Castoloma Stomp. So let's leave the recording session and
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go into the offices of the Castoloma Orchestra so I
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can answer Stuart Fox's question about the Castoloma business model. Now,
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many bands of the nineteen thirties were one man shows.
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The leader called the shots, but the Cassloma Orchestra was
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totally different. When the orchestra was formed in nineteen twenty nine,
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the band members had a meeting and they was very foresighted.
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They decided to set up the band as a corporation.
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Every musician bought stock, shared the profits, and voted on discipline. So,
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for example, since everyone relied on the profits of the band,
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that was made if you showed up late for rehearsal,
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say or you drank a little too much or you
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were inappropriate, the band could instantly vote you out, and
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that strict businesslike approach gave them stability throughout the depression
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beyond that, from a musical standpoint, with Gene Giffert's arrangements
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and Glenn Gray, the saxophonist, serving as the frontman, the
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Casteloma Orchestra became one of the first swing bands to
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make it big. Many musicians stayed with the band for
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between five and ten years, a very high figure at
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the time, and that was due with no small part
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of their business model. Let's hear one more from the
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Castaloma Orchestra via Brunswick Records, Panama by Glenn Gray and
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the Casteloma Orchestra, recorded in New York City, July the nineteenth,
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nineteen thirty four. And thanks to you Stuart Fox for
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your great question about the Castloma Orchestra and how they
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did business to reach me like Stuve Fox did. You
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can send your emails to Jeff at MakeBelieve Ballroom Radio
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dot com. That's Jeff at MakeBelieve Ballroom Radio dot com
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to hear past shows in the series Going to Make
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Believe Ballroom dot Com. Make believe ballroom dot Com and
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listeners email let me see what we have. Oh yeah,
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we have an email with a requested acknowledgment that'll be
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coming your way a little later on in the show.
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And they don't. They don't, and then didn't, and din't didn't,
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they didn't, and there isn't that just didn't and there' anything.
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Recorded on November the twenty second, nineteen thirty nine, for
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Columbia Records in New York City, we just heard the
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Benny Goodman Sex tent with seven Come eleven, little song
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about the game of dice, featuring Benny Goodman on the clarinet,
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Charlie Christian the electric guitar, Lionel Hampton the vibraphone. Fletcher
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Henderson was playing the piano, Hardy Bernstein the bass, and
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Nick Fittool the drummer. And much like the song we
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played earlier where Lionel Hampton introduced the jazz world to
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the vibraphone, here in seven Come eleven we heard Charlie
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Christian offer us what is often cited as one of
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the first true jazz guitar masterpieces ever recorded. And it's
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interesting how Benny Goodman developed his musical relationship with Charlie Christian.
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It was in August of nineteen thirty nine and Benny
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Goodman was in Los Angeles playing a few dates and
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looking for some new talent. His friend and producer John
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Hammond had been urging him to hear a young guitarist
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from Oklahoma City, Charlie Christian, who was in Los Angeles
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at the time. Benny, though, was extremely skeptical about listening
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to a guitarist, but he did it as a favorite
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to Hammond. Benny, while in California, was playing for several
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nights at the Victor Hugo Restaurant, and that is where
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Hammond told Christian to appear. And when Charlie arrived, Goodman
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called out an old tune Rose Room, figuring it would
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trip him up, and Benny could tell Hammond, I told
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you so. I listened to the guy and wasn't impressed.
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But Christian he came up on the bandstand, plugged in
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his electric guitar, and well, I guess the best way
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to describe is he literally soared chorus after chorus. He
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took Rose Room the song. Benny Goodman figured he never
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played to twenty choruses in all, and from that chance audition,
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the electric guitar and Charlie Christians stepped into the spotlight,
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and with them I think the sound of modern jazz.
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Was born about him.
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Like some.
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Folks we just heard a record recorded by, I feel
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one of Harlem's most overlooked band leaders, Claude Hopkins. Hopkins
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was a classically trained pianist who carried on his piano,
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ragtime and stride into the swing era, where in Harlem
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he was a fixture at both the Savoy Ballroom and
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the Cotton Club. Hopkins Orchestra was never the biggest, but
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it was among the tightest and most danceable bands in
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the nineteen thirties. Among his standout recordings were Mushmouth and
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the tune you Just Heard Washington Squabble. Both of them
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were lively brassy numbers, and I think what I find
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really cool about Washington Squabble is how Claude Hopkins hopkins
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piano playing stayed rooted in stride and rag time, and
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in that number Washington Squabble, how he was able to
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bridge the gap between stride, ragtime and the swing era.
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Claude Hopkins is Jeff Bresler speaking. I'm speaking of music
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from the big band era of the nineteen thirties and forties.
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Here on the make Believe ballroom. I hope you're enjoying
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the show. Let me now play a record with music
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that might sound somewhat familiar if you are a lover
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of a certain genre of film.
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Very lar the one Thing, the Looking the Fish, the
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do Nothing.
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Doing from Victor Records. Powerhouse by the Raymond Scott Quintet,
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recorded in New York City, February the twentieth, nineteen thirty seven.
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So I mentioned to you folks that the song Powerhouse
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might say somewhat familiar. Let me explain. In the late
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nineteen thirties, while swing bands were king, a Juilliard educated
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composer and pianist, one Raymond Scott, was charting his own course.
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He assembled the Raymond Scott Quintet. It's funny, it wasn't
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a true quintet. It was actually six players, and it said,
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and I have read that Scott just thought the name
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quintet sounded hipper. Well, the Raymond Scott Quintet set out
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to perform. How do I describe this? They really set
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out to perform. I guess you would call it little
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miniature jazz compositions. Unlike most bands of the era, Scott's
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group left absolutely no space for improvisation. Every part that
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Scott wrote was meticulously written, giving their music the Raymond
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Scott Quintet's music a precision that was more like a
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chamber music than swing, and the results, as we heard,
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were unusual and pretty interesting. Raymond Scott written pieces, as
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we heard with Powerhouse, combined syncopated rhythms with a sense
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of comic timing. Now, where did you possibly hear the
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music from Powerhouse in the past? Well, to answer that,
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I have to add an additional gentleman into the mix.
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In nineteen thirty six, a guy named Carl Stalling joined
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Warner Brothers as their musical director. He was synonymous with
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both the Looney Tunes and Merry Melodies sounds. Now, Carl
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Stalling's primary job was to score ten to twelve minutes
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