Sept. 5, 2025
Make Believe Ballroom - 9/5/25 Edition
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This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - 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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