Sept. 5, 2025

Make Believe Ballroom - 9/5/25 Edition

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Show Notes
Transcript

This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - one of the forefathers of swing, a song from the 1920s that took decades to get its just due, an Artie Shaw request, Benny Goodman tale and music - plus many more great records and stories to cherish and enjoy on this week's program.

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It's make Believe Ballroom time.

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Put all your cares away.

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All the bands are here to bring.

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Good cheer your way.

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It's make Believe Ballroom time and free to everyone.

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It's no time to friend your Dalis said Bamba.

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Yours, close your.

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Eyes and visual life in your solitude.

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Your favorite bands are on this dance.

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And mister Miller, but you in the wood. It's make

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Believe Ballroom time. Be are a sweet romance.

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As you make believe.

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Bob, come on, Jo the last dass last.

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Hello world, I'm Jeff Presler, turning on the lights of

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the Make Believe Ballroom and welcoming you into my Crystal

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studio for another program of classic big band hits from

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the nineteen thirties and nineteen forties. Get ready as I

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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. Hello friends,

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and welcome into my Crystal studio for another edition of

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the Make Believe Ballroom. To get things underway today, I

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want to play a record from an arranger and bandleader

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who we well we haven't heard from him in a while.

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Here on the Make Believe Ballroom. He was known as

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the little Giant of jazz, and he composed and arranged

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music for radio, later television, and many big bands, including

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his own. He's considered to be one of the first

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great jazz arrangers, as well as a prominent band leader

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and vocalist who helped develop swing as your big band style.

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And I am talking about one Don Redman.

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I'm staying conscience.

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I'm free to mingle.

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I do what I did.

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When I'm out late nights. No one has my geez. Yeah,

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I'll keep my deed nights doing what I please. You know,

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I don't have no star orders because they keep you

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on the shelf, and I ain't taking orders. So I

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just go along and joined myself. Should I go selling

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across seven seas. No one can stop me doing what

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I please. You know, I have romances just like a

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dog has bees. I taken all the dances.

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That's because I do what I please.

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I blow into these parties just like a reckless breeze.

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I'm smart all these other smarties because I do just

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what I please. You know, where there's no action, you

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will find that there's booze about, and I get my

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satisfaction only when I'm stepping out. And whenever I get

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tipsy out of one of these jamborees, no one can

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stop me because I do what I fee.

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From Brunswick Records. Doing what I Please by Don Redman

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and his Orchestra, vocal by Mister Redmond, recorded in New

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York City, October the sixth, nineteen thirty two. That song

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was written by Fats Waller and Andy Razoff. Now how

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about one composed by Don Redman himself?

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Now I no one gal named Sadie Green the hards Gally,

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New Orleans. She loves to dance, she loves do things,

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and you take a chance on any old thing. Other

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night down at the hall, when a band would lay merceded,

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go on that floor ran.

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This is what she say? How am I doing hey?

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Hey?

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Tweet tweet tweet twatch wild?

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How am I doing hey?

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Or g or baby or shawl?

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Now I'm not breaking, but it's understood that everything I

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do by should do good?

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How am I doing hey?

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Hey?

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Tweet tweet tweet twatch wa boom?

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How am I doing hey?

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Ha? Oh? Tree tree tweet twart wall?

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How am I doing Hey, he, oh gen baby shawl

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I only man do little bit he doesn't maybe like

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it and it does can't quit?

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How am I doing?

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Hey?

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Hey? Old tweet tweet tweet twatterwi.

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Done, done.

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Duddle?

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How am I doing? Hey? Hey? Tweet tweeny? How am

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I doing? Hey? Hey, r G Baby, You're Shawn.

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I'll admit I'm not the best in down, but I'll

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be the best in the best ground.

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Now.

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How am I doing?

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Boy?

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Hey? Hey? Tweet tween yea? How we doing? Hey? Hey?

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Tweet tweet tweet twatter teve? How we doing? Hey? Hey?

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R G R baby You're Shawn? How we doing hey? Hey?

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Tweet tweet tweet twatter twelve? How we do one? Tweet

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twetwet tweet twatter one? How we do one? Or r

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G baby You're shaw? How harmy'? How we do?

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How am I doing?

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Hey?

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Hey?

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The Mills Brothers recorded on Brunswick Records in nineteen thirty two,

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and I have a little personal anecdote about that song

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how am I doing? At one time in my life,

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I was a special events fundraiser for a not for

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profit organization, and what we did in essence was honor

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a series of corporate executives in New York City who

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helped raise money and assisted the organization. Now, many of

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these executives were some of the biggest business titans in

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New York, leaders in well banking, real estate, media. Some

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really very famous folks now Ed Koch. Some of you

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may recognize that name. He was one of the most

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popular mayors in New York City history. Koch was often

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asked by some of the honorees to speak at these

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award dinners. At one of these dinners, I think, I

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think it was at the Waldorf Astoria. I was walking

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in the ballroom with Mayor Koch to familiarize him with

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how the room was laid out. And this was before

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the event. There was no one in the ballroom, just

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the Mayor, myself, and one of the members of the

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band who were scheduled to play during the evening at

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the awards dinner. So I walked through the ballroom with

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the mayor, Mayor Koch and the band member started playing

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a tune on his guitar. Well later on I asked

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him what the tune was and he said, how am

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I doing Don Redman song? He was heads up. Actually

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the guitar player, because when Ed Koch made appearances around

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the city of New York, he would always ask the

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gathered crowd, how am I doing? So that was the

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first time I ever heard the song how am I doing?

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Kind of a neat remembrance that I will never forget.

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So a little Don Redman has both a bandleader and

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arranger composer to get things underway today on the Make

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Believe Ballroom, I mentioned Fats Waller and Andy Rasov composing

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doing what I Please. Fats composed over four hundred songs

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in his career. Many of those had lyrics that were

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written by his good friend and collaborator Andy Rasov. How

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about one of those most famous tunes, every under Me?

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When's the jealousy?

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When does he wine with me?

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I the winding.

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Goodness though one new summer.

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Road one with me some by flock in side, And

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I know the reason why your my sweetest goodness.

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No hownness, I'm gonna roll, don't why sugar go?

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You just have to touch my coup your't my sugar gon.

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It's sweet when you start read, uh well, I'm taking

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selves from your taste that now the honey pali dress,

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your conviction.

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Goodness no honess some cold roll.

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Oh well, I'm taking them.

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Honey barely.

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Let goodness though.

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Talking about Honey's label.

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Rose via Victor Records, Honeysuckle Rose by Fats Waller and

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his rhythm vocal of Course by Fats, recorded in New

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York City, November the seventh, nineteen thirty four. I'm Jeff Wrestler,

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and you're listening to the one, the only, the original

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Make Believe Ballroom. And now the one, the only, the

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original count Basie.

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The Sting.

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They didn't keep salview the.

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Con going to Chicago. Sorry that I can't take you

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going to Chicago, Sorry that I can't take it that

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nothing in Chicago that a monkey woman can do. When

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you see me coming, rage y'all window high, when you

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see me coming, rage y'all window high.

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When you see me passing baby.

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Hang yr hair and God, hurry down, sunshine, see what

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to my roll brand. Hurry down, sunshine, see what to

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my raw brand?

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The sun would die to my row Broadter say, you

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son't mean an evil? You do things you are not. Dude,

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you so mean an evil, you do things.

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You are not.

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You got my brando? Yes, I'll have to put up

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with you.

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On Okay records, Count Basy and his orchestra with the

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Jimmy Rushing vocal Going to Chicago recorded in Chicago April tenth,

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nineteen forty one, A Little Chicago Blues there written by

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Count Basie and Jimmy Rushing. A lot of great songs

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about Chicago written over the years, Probably the two most

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famous were both Frank Sinatra tuons. My kind of Town

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Chicago Is was written by Jimmy Van Heuston and Sammy

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Kahn in nineteen sixty four, and of course the equally

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as popular Chicago was written by a gentleman named Fred Fisher. Now,

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both those tune were not in any way instant hits

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for Frank Sinatra. This might surprise you. My Kind of

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Town only reached number one ten on the Pop charts

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in nineteen sixty four, while Chicago That Toddle in Town,

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recorded in nineteen fifty seven, only reached number eighty four

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on the charts. So it took a while after that

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for both those songs to become immensely popular Sinatra tunes.

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You may be wondering why on the make Believe Ballroom,

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where we play songs from the era of the nineteen

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thirties and nineteen forties. Am I talking about records that

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were made in nineteen fifty seven and nineteen sixty four. Well,

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perhaps it's because, in particular, the song Chicago took decades

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to reach the pinnacle of popularity that Frank Sinatra brought

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to the tune. What am I talking about? Well, listen

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to this.

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Ch Congo s Icago and tarling down, tarling down.

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Jumping in Chicago, Jackson lay sube boots and I will

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show you around you like it.

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Love it that Chabottom dollar you lose, lose Chicago.

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Jack Joe's really jumping my mister Billy Sunday couldn't shut

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old place down.

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Folks kept going down on Say Street, that great street.

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I just want to say, hey, now, yes, really really

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do things they don't do on Broadway.

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Say you'll have the time, the time of your life.

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I know.

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Man danced with in Chicago.

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From Victor Records, Chicago by Tommy Dorsey and his orchestra,

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vocal by Cy Oliver and the Sentimentalists, recorded September seventh,

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nineteen forty five, and that was the most well known

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swing treatment of the Fred Fisher song that was written

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way back in Believe It or Not, nineteen twenty two,

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a song that has indeed aged very well. I'm Jeff

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Wrestler and you're listening to the weekly edition of the

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Make Believe Ballroom. I hope you're enjoying the program. A

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listener's email coming to you after this.

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Song from a.

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The great British ballroom dancer and teacher and one of

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the few women bandleaders in Great Britain during the Big

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Band era. Recorded in London on June the seventh, nineteen

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forty three, Josephine Baker and her orchestra with Run Little

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Raindrop Run, a perky British ballroom dance tune from Decca Records.

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This is Jeff Presler. I am in the Crystal studio

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and you're listening to the Make Believe Ballroom, broadcasting almost

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continuously since nineteen thirty five. And I can be reached

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

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at MakeBelieve Ballroom Radio dot com. And the young fella

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is reached out to me this past week talking about

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the one, the Only Rich Oliver. If you're a regular listener,

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you may recall I got an email from Rich a

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few months ago. He lives in Arizona, but has a

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close friend who lives in Rochester, New York, home of

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the Great Jazz ninety point one WGMC, one of our

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beloved affiliates. Rich told us in that email and reminded

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me in this one that he played in the five

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hundred and forty first Air Force Band from nineteen fifty

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to fifty nine and was the featured clarinetist when the

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band played the Artieshaw classic Begin the Beginning. Now, Rich

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might have missed the show where I read his first

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email and then played begin to Beginning. In this current email,

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he assured me he would be listening to this specific

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episode of the show because he would be visiting a

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female friend in Rochester. So at the end of his

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current email, he wrote, quote unquote, thank you for such

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a great show, and maybe you could play that tune

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for us. And I believe it was recorded as a

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flip side to Summertime back in nineteen thirty six. Well, Rich,

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I have pledged to my audience that I try to

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play songs only once or twice a year to keep

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the music fresh. And since I already played begin to

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Begin a few weeks ago, I will honor you with

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another Artie Shaw record, and let me peruse my Arti

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00:27:39.240 --> 00:27:45.519
Shaw playlist. I don't normally play Shaw records with the vocalist,

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so here's one with the legendary vocalist Helen Forrest from

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back in nineteen thirty nine, dedicated to you Rich and

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your friend Laurie.

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Supper Time, I should set the table because it supper time.

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Somehow I'm not able to cause that man of mine,

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he's coming whole no more.

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Supper times.

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Kids will soon be yelling all their supper time.

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How Like keep from telling that that man of mine

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he's coming.

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Whole no more.

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How Like keep explaining when they ask me where he's gone?

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How Like keep from crime when I bring their supper?

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00:29:01.079 --> 00:29:05.279
How can I remind them to prey at their humble

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How can I be thankful when they start to thankful?

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Lord Lord?

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Supper Time, I should set the table because it's supper time.

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Somehow I'm not able to cause that man hein't coming

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home no more. He's coming home no more.

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Shame us.

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We just heard on Bluebird Records from back in nineteen

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thirty nine, the Irving Berlin penned supper Time already shown

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his orchestra with the Helen Forrest Vocal Just for you,

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Rich Oliver. If you have a reminiscence, request, celebration, to acknowledge, etc.

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Et cetera, you could reach out to me at Jeff

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

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MakeBelieve Ballroomradio dot Com.

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Won't come with me to Alabamy, Let's go see my

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dear Omammy. She's frying eggs and broad and hammy. That's

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what I like about the South. Now there, you can

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make no mistake. Key where those nerves, I'm never shaky.

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Ought to taste of leg cakey, That's what I like

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about it.

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Salt.

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She's got baked rips and candy jams, those sugar cue

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and Virginia hams. Basement full of those berry jams. And

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that's what I like about the Salt. Hot corn bread

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and black eyed teas. You can eat as much as

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you please because it's never out of season. That's what

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I like about the South. Dad, don't take one, have too.

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Their dark brown and chocolate two suits me. They must

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suit you, because that's what I like about salt. It's

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the way way down with the cane grows tall down

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where they say you all walk on in with that

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southern draw. Because that's what I like about the Salt.

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It's down where they have those pretty queens. Keep it dreaming,

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00:32:39.160 --> 00:32:41.279
those dreamy dreams. Let's sip that apps and then do

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all heans. That's what I like about the Salt. Here

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00:32:51.039 --> 00:32:53.039
come old Bob with all the news, got the box

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back code and the button shoes. But he's all caught

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up with his union dudes. And that's what I like

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00:32:56.960 --> 00:32:59.640
about the Salt. Here come old Roy down the street.

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Hoo you yeah, those couple of feet. He would rather

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sleep and eat and then the That's what I like.

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A love the son now every time, my passion. Noah,

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you act like you don't want me tomorrow. Why don't

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you shake your head and sign I'll go walking right

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on by, gone on on and on and on. Honey,

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When are you tell me that you love me?

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Then?

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How come you close your eyes? Then I tell you

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about the place called do I did?

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Hey?

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It ain't no town and it ain't no city. It's

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just awful small, that awful pretty well, do did he?

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I didn't come here to criticize. I'm not here to sympathize.

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But don't call me those no good lies case a

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line gal, I do despise you love me like I

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love you. Send me fifty PDQ, rosa red and violence

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of pink. I'm on, get old fifty. I don't think

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she's got backbones and butt of beans, hamhocks and turnip greens.

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You and me and New Orleans.

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And that's what I like about the Soals.

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00:34:21.400 --> 00:34:25.559
Recorded on RCA Victor. That's what I like about The

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South by Phil Harris and his Orchestra, released December of

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nineteen forty six. And I was just reading a story

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00:34:36.400 --> 00:34:38.639
about Benny Goodman, and I'd like to tell you it's

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00:34:38.639 --> 00:34:41.559
a funny story. I don't have it in front of me,

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00:34:41.719 --> 00:34:46.000
but I can recall the details pretty well. As many

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00:34:46.039 --> 00:34:50.880
of you know, Benny, as genius a musician as he was,

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00:34:51.119 --> 00:34:56.760
could not remember names. He called literally everyone, even though

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he knew well. He called them pops. He seemed to

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cover everybody in Benny's mind. Now, as the story goes,

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00:35:05.800 --> 00:35:09.920
Benny had the sideman, not one of his favorite musicians

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00:35:10.440 --> 00:35:14.719
in the orchestra. So Benny kept on switching his parts

340
00:35:15.480 --> 00:35:18.320
and at one time took a solo away from this

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00:35:18.519 --> 00:35:24.239
guy during rehearsals and even during engagements. The sideman could

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00:35:24.320 --> 00:35:29.280
not take Benny staring him down was very upsetting to him.

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The guy was becoming increasingly miserable and rolled around not

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being able to sleep after he went to bed each

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00:35:39.519 --> 00:35:44.159
night after being reprimanded by Benny. The money with Benny

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00:35:44.360 --> 00:35:47.079
was great, and why not This sideman was playing for

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00:35:47.199 --> 00:35:50.760
one of the greatest bands on the planet. Well, he

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00:35:50.920 --> 00:35:55.239
realized that money. Eventually realized that money did not translate

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00:35:55.320 --> 00:35:59.079
into happiness. He was worried what Benny would say to

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00:35:59.199 --> 00:36:02.559
him if he made a rash move. He also, even

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00:36:02.639 --> 00:36:05.480
though there was conflict, did not want to let Benny

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00:36:05.519 --> 00:36:08.519
Goodman down. It took him a little while, but he

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00:36:08.639 --> 00:36:13.119
finally got up the courage to confront Benny directly, so

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00:36:13.400 --> 00:36:18.000
after a show he the Sideman burst into Benny's dressing

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00:36:18.079 --> 00:36:21.679
room and went face to face with Goodman. The story

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00:36:22.280 --> 00:36:25.840
relates that he said something to the effect of that's it, Benny,

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I can't take it anymore. I'm quitting. He then turned

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and left the room and slammed Benny's dressing room door

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00:36:32.840 --> 00:36:35.880
on the way out. Benny, who was in the room

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00:36:35.960 --> 00:36:39.880
with his manager, looked perplexed and said to his manager

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00:36:40.039 --> 00:36:45.559
a quote unquote, who was that so funny story? I

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00:36:45.639 --> 00:36:49.400
guess in addition to names, Benny could not remember faces

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00:36:49.599 --> 00:40:24.239
very well. Sa from Victor Records Lullaby in Rhythm by

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00:40:24.320 --> 00:40:28.079
Benny Goodman and his Orchestra that arranged by Edgar Sampson,

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00:40:28.719 --> 00:40:32.679
recorded in New York City, April eighth, nineteen thirty eight.

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00:40:33.519 --> 00:43:34.079
How about one more from Benny Goodman? Then, also on

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00:43:34.280 --> 00:43:38.239
Victor Records, Topsy by Benny Goodman and his Orchestra, recorded

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00:43:38.280 --> 00:43:42.280
in New York City, November tenth, nineteen thirty eight. You're

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listening to the weekly edition of the Make Believe Ballroom.

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00:43:45.039 --> 00:43:48.159
Thanks so much for joining me in the Crystal studio today.

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00:43:48.960 --> 00:43:51.800
Not joining us, though, is Lenny from down the block

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00:43:51.960 --> 00:43:55.480
with his record pick of the week. Lenny, the producer

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00:43:55.519 --> 00:43:58.360
emeritus of the Make Believe Ballroom has once again left

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00:43:58.480 --> 00:44:01.679
us flat for the better part of the last month

375
00:44:02.440 --> 00:44:05.000
as he and his wife Cookie have driven their r

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00:44:05.119 --> 00:44:08.719
V with a number of friends also in their r

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00:44:08.840 --> 00:44:15.199
v's all in tow to create a caravan that traveled

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00:44:15.239 --> 00:44:18.880
to Texas and is camping out there. Lenny, I know

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00:44:19.039 --> 00:44:22.440
for sure we'll be back next week, and if you're

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00:44:22.519 --> 00:44:26.639
listening to this broadcast. Lenny, a song about the road,

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00:44:27.360 --> 00:44:29.199
dedicated to you and Cookie.

382
00:45:50.559 --> 00:45:51.840
I'm so tired of.

383
00:45:51.920 --> 00:45:56.440
The story routine up to town on the eight fifteen,

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00:45:57.280 --> 00:45:58.800
that gotned.

385
00:45:58.360 --> 00:46:02.199
Up to bed day. Get up and start it all

386
00:46:02.320 --> 00:46:03.239
over again.

387
00:46:04.159 --> 00:46:06.159
Let's take a boat of Bermuda.

388
00:46:07.559 --> 00:46:09.400
Let's take a plane to Saint Paul.

389
00:46:10.880 --> 00:46:14.599
Let's take a kayak to Quincy or Nayak. Let's get

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00:46:14.679 --> 00:46:16.039
away from it all.

391
00:46:17.559 --> 00:46:18.280
Let's take a.

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00:46:18.360 --> 00:46:22.800
Trip and a trailer, no need to come back at all.

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00:46:24.199 --> 00:46:25.719
Let's take a potter.

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00:46:25.599 --> 00:46:26.920
To Blossom for chowder.

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00:46:27.440 --> 00:46:29.239
Let's get away from it all.

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Make Believe Ballroom - 9/5/25 Edition

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