Sept. 10, 2024

Make Believe Ballroom - 9/6/24 Edition

Show Notes
Transcript

Join us for this weeks MAKE BELIEVE BALLROOM, broadcast over member supported Jazz 90.1 WGMC-FM in Rochester, NY, and other fine affiliates across the US as well as in the United Kingdom -- small group bands within a big band, a new use for cardboard in the 1930s, budget record labels, a disturbing story about the Andrews Sisters -- plus many, many more of the greatest hits of the big band era are played for your musical enjoyment during this episode.

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It's make believe ballroom time.

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Put all your cares away. All the bands are here

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to bring good cheer your way. It's make believe ballroom

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time and free to everyone. It's no time to friend

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your Dalis.

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Said Bamba.

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Yours.

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Close your eyes and vis you lie in your solitude.

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Your favorite bands are on List Dance and Mister Miller.

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But you're in the mood.

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It's make believe ballroom time. We are of sweet romance

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as you make it bo Come on, Joe, Last Dance, Last.

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Hi, folks, I'm Jeff Pressler, turning on the lights of

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the Make Believe Ballroom and welcoming you into my Crystal

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studio for another hour of the greatest swing, jazz and

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big band hits of the nineteen thirties and nineteen forties.

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

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

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

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

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first time today, I invite you to join me for

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some of the greatest swing and jazz hits from the

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big band era, Hello world, and welcome, Welcome, welcome, one

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and all into the Make Believe Ballroom, coming to you

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coast to coast and across the Atlantic Ocean on wonderful

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stations like members supported Jazz ninety point one, the GMC

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in Rochester, New York, and another fine affiliates across the

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US and in the UK. Well, let's get this jazz

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and swing party underway with some small band of music.

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Hi and balace.

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What's new?

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Nah much?

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Not much? Well, hello, da, what's new with you?

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I've got a new dance. I'd like to show it

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to you. If you've got rhythm to burn, here's the dance.

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It's easy to learn if you don't and your name

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is much if you don't your social course. Everybody's learning

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how to do the big Apple, the big Apple. And

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it isn't very hard to do the big Apple, the

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big Apple. Keen can do it just as well as to.

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The big Apple, the big Apple.

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Everybody's learning how to do that brand.

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New apple dance.

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That's an apple a day will keep the doctor away. Hey, Hey,

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it's easy to dance your cares away. Everybody's learning how

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to do the big Apple. The come on learn to

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do that apple dance.

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First you gather around, then you come a ground, do

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a bit of things, a bit of that, and then.

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Do a fred a stair, hands up the el truck

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around them.

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Then you start right in again.

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You must do anything that you know. The most important

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thing is just to let yourself phone.

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See just what's an apple you're talking about.

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It's a new dance. They're all raving about your truck

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on down and susan cue nan shag a bit and

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some posing too, a Lindy hot. You pick a lot,

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put them all together, and what have you got? The

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big Apple, the big Apple, the big Apple.

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Well, my, my, yes.

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Yes.

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My.

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On Victor Records, that was the Big Apple by Tommy

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Dorsey and his clam Bake seven with a vocal by

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Edith Wright and chorus, recorded in New York City, August

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the thirteenth, nineteen thirty seven. For Tommy Dorsey, the Clambag

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seven was his small band, small group or unit. Small

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band meaning a subdivision of a big band anywhere from

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seven pieces to trios, quartets, and sextets. Most of the

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top big bands of the era had these smaller units.

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There were groups like Benny Goodman's Trio and Sex Tet.

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Another popular one was Bob Crosby's Bobcats. Let's see we

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had it was Woody Herman's Wood Choppers, and one of

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the most popular was Count Basie and his Kansas City seven.

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Why don't I play one more of these small groups? Oops? Then,

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believe it or not, a new use for cardboard. That's right,

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cardboard can do a lot of things. That was Ladie

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Shaw and his Gramacy five Shaws small band with special

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delivery Stomp, recorded in nineteen four. Now I told you

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before Ardie Shaw that I was going to address a

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new use for cardboard. Well, actually not a new use today,

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but an important use when it came to record manufacturing

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in the early nineteen thirties, many record companies were At

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the time, they were looking to produce budget records for

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those who were watching their pennies during the early years

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of the depression. Well Hit of the Week. Hit of

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the Week was an American record label that was founded

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in nineteen thirty created with the specific purpose of selling

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low priced records. Now, these discs were made of durium,

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which was a lightweight synthetic resin, and that duriam coating

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was mixed with cardboard paper to produce Hit of the

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Week records that process instead of the usual shellac. So

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the way the label operated Hit of the Week was

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to issue a current hit popular song each and every week,

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and unlike other records that were sold at record stores,

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their marketing was to sell their releases at newsstands, but

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previous issues could be obtained by mail order. A Hit

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of the Week records retailed for fifteen cents each, later

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raised to twenty cents to cover costs. A Hit of

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the Week records were by far the lowest priced records

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in the United States and nineteen thirty and nineteen thirty one.

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Now you may be asking, and rightfully so, what would

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a fifth teen sent cardboard record by you? Well, it

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would present you with great music like this.

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Aunt you gone then and let me crying after you're gone.

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There's no use denying. You'll feel blue. You said you'll method.

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There is bout you the other. Now come my dime. Now,

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don't forget it. I'll got my dime when you regret

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it some day.

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When you grow.

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Lonely, yard will break like money. You won't me only

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after you gown after you.

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Brown and wait.

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Now, my Friends that was certainly worth fifteen cents. A

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lot of great jazz for fifteen cents coming to us

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on Hit of the Week Records via After You're Gone, Joevenudi,

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Eddie Lang and their all Star Orchestra with a bonus

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Benny Goodman on the clarinet, trombone and vocal by Jack T.

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Garden recorded in New York City for Hit of the

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Week Records in nineteen thirty one. Also recording for Hit

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of the Week were legendary names like Duke Ellington and

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Ben Pollock. Unfortunately, the label was not profitable and the

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cardboard went to the recycle bin, so to speak, in

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nineteen thirty two. Did they even have recycle bins in

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nineteen thirty two? Definitely not, But they had other depression

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busting record labels that produced some wonderful tunes at a

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budget price. Crown Records was a five and dime store

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label that existed from nineteen thirty to thirty three, based

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in New York City. A Crown Records catalog included music

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by Ub Blake and Fletcher Henderson. It was known as

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the label offering quote unquote two hits for two bits.

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That slogan was proudly printed on their record Slaves a

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Crown disc sold for two bits, which is the equivalent

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of twenty five cents each, and you got a regular

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record with an A and B side, and they were

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ten cents more than Hit of the Week records, but

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certainly with better sound quality and used the shellac technology

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instead of the cardboard. Let me pull up my Crown

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Record playlist and choose one stand by folks. Well, I did,

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mention Fletcher Henderson, So why not offer as a sample

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of a Crown Record recording this popular tune.

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Somebody stole my Gal. Somebody stole my pile. Somebody came

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and to go away. She didn't even say.

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She wasn't even the kisses.

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I love soul.

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She's getting now, I know.

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And he I know.

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That she would come to me if she could see.

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I broken hearted, loan some pole. Somebody stole my God, talk.

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Time, t.

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Do you anything?

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Somebody Stole My Gal? Band led and Arrangement, written by

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Fletcher Henderson, who on the label is referred to as

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the Crown King of Swing. It's interesting that Fletcher was

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referred to as the King of Swing before Benny Goodman

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held that lofty title and It's funny because Benny had

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such a close relationship with Fletcher. When Benny Goodman was

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skyrock marketing in popularity in the mid nineteen thirties, he

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needed more and more material. Henderson ended up selling Benny

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many many arrangements, good number of those recycled from Fletcher

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Henderson's own band recordings. Why don't we spend a Goodman

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hit arranged by Fletcher Henderson? Then the story of a

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trio acting badly Bunny bergan there on the trumpet led

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off that famous Fletcher Henderson arrangement of the jelly Roll

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Morton jazz standard that helped kick the swing era into

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a high gear. On Victor, we just heard the King

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Porter Stomp by Benny Goodman and his Orchestra, recorded in

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New York City, July the first, nineteen thirty five. Friends,

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I'm Jeff Pressler, and you're listening to the one, the only,

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the original Make Believe Ballroom magically transmitted over the airwaves

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from my Crystal studio to reach me, I'm Jeff at

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Make Believe Ballroom Radio dot Com. That's Jeff at MakeBelieve

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Ballroom Radio dot Com. I'm so thankful to our listeners

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who email and sort of by coincidence, I will read

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one of those emails I just received last week that

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asks a question about stomps, just like the one I

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played King Port a stomp by Benny Goodman. In the

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earlier one I played by the Ardi Shaw Gramercy five.

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But now, dear friends, before that email, I want to

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talk about a story of a trio gone bad. I

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think we would have to all agree that the biggest

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musical icons during World War Two were certainly Glenn Miller

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and the andrew Sisters. Even people with little familiarity or

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interest in music of the era are at least aware

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of Miller's in the Mood and the andrew Sisters Boogie

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Woogie Bugle Boy. Whenever people find out that I host

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the Make Believe Ballroom, they always say, is that kind

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of like music that Glenn Miller played and the andrew

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Sisters sang. Now two years before Pearl Harbor, and just

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as both the Glenn Miller Band and the andrew Sisters

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were on the verge of super stardom, they appeared together

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on a series of radio programs that were sponsored by Chesterfield.

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Miller's Chesterfield broadcasts began on December the twenty seventh, nineteen

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thirty nine. And here is that first ever introduction.

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Chesterfield brings you the Moonlight Serenade, the Cigarette that Satisfies

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presents America's number one dance band with America's number one

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swings re all Glenn Miller and the Andrews Sisters Tuesday,

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Wednesday and Thursday, three times every week. And now here's

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Glenn Miller.

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But didn't another one tonight?

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Decide Harry from the Andrews Sisters.

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You'd hear vocals by.

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Ray Married in text and even a word or two

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from the band.

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Now. After several years of pushing hard, the Glenn Miller

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Orchestra finally broke through in the summer of nineteen thirty nine,

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where they are now one of the top bands in

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the country within the Mood, topping the charts. Yet, there

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were some doubts as to how well the Miller band

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would carry a radio program on their own, so producers

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hedged their bets and added the andrew Sisters, who had

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already proven themselves as a popular act. The Chesterfield Cigarette

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sponsored radio program with the Glenn Miller and the andrew

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Sisters was heard Tuesdays, Wednesdays, and Thursdays from ten to

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ten fifteen pm over the CBS Broadcasting Network. Just a

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brief fifteen minute program a few times a week. So

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just a little background on the andrew sisters. Laverne, Maxine

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and Patty Andrews were the daughters of a Greek father

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and a Norwegian mother. As a young girls, they sang

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together in local talent shows and school reviews before they

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joined a large traveling troop of entertainers in nineteen thirty one,

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where the youngest Patty at that time, was just thirteen

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years old. They spent the next several years on and

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off the vaudeville circuit. In nineteen thirty seven, they arrived

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in New York City with the Leon Belasco Orchestra. Now

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Leon introduced the Andrews to the great arranger, Vic Shoon.

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Vic was very impressed, and he hooked him up with

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an orchestra broadcasting from a hotel ballroom. Luck have it,

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Dave Knapp, who at the time was the president of

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Decca Records. He caught that hotel broadcast on the radio,

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loved them and signed them up, and as luck would

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have it, the sisters were presented with the song from

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the Yiddish theater by mere Bist Shane, and the Andrews

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Sisters recorded it in November of nineteen thirty seven with

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an orchestra arranged and conducted by Vic Shoan. The record

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was a big hit, and the Andrews from then on

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were on their way to becoming the most successful singing

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group of the time. So, friends, as I weave through

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this story of Andrew's sister's bed behavior, I'm going to

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break it up with some music and hear from Glenn

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Miller's Chesterfield broadcast The Andrews Sisters singing by Mere Bister Shane.

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A couple of years ago, in the days of the

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Saturday Night Swing Club, I had the pleasure of introducing

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three young ladies, the andrew Sisters, who in turn introduced

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a song that swept the country. And it's a real

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pleasure to say again, Laverne, Patty and Maxine, the andrew

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Sisters singing by Mere Bister Shane, about the voice.

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I've known, and I've knownsome. Until I first met you.

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I was knownsome and when you came insight to my

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hot goood ladin the sob she knew me.

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You're realist.

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Well, I have to admit you just cerf expressions that

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really put you. So I've bracked my brain hoping to

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explain all the things that.

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You do to me.

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Love me, Besty Shane.

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Please let me explain form me best.

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To Shane major brain, love me, Bester Shane again, I'll explain.

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It means you're the very.

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Reason the life.

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I could sur bell a bell, lie even self.

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And the barage language.

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Jonesy me tell you.

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How grand you are.

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Have tried to.

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Explain from me fisty shame, so kiss me can.

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Say you understand.

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From me fisty shamee you murd of ball by leave me.

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Try to explain from me abst to shame, mest your.

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Grain from me fisty shame is suctional refrain and yeah,

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I sho explain.

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It means I am begging for your hands.

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I could say bear the bell, your sylf and the

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fuck each language, Jon Me tell.

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You how grand you are, my good bad.

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And barriage language.

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On me tell you brand you want what brid to

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explain for me, mister.

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Me jew.

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So the success of by Mere mister Shane basically set

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the style for the Andrew Sisters music career. If you

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know the andrew Sisters. They are traditionally stuck closely to

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a two beat dixie Land feel instead of the more

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swinging sound of the Glenn Miller Orchestra, and the Chesterfield

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broadcasts certainly allowed them the andrew Sisters to make the

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tradition to singing swing. To me, no song showed off

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this andrew Sister's newfound swing than Oh Johnny, Oh, here's.

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The first one. It's the Andrews sister singing, Oh Johnny.

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Old Johnny Johnny, how you can know?

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Johnny Johnny the.

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Bone you make my sad jump with john and when

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your Nie right just came sixteen the minute as Johnny

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Johnny pistammity.

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What makes me love you?

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So?

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You're not handsome, that's.

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True, but when I look at you, I just know Johnny,

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Oh Johnny, Nada da dada.

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Half a trip to Fasty found with a certain little lad.

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Although he's very very bad, he could be also good

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if you wanted.

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To final food. He understood.

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But love another thing.

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Man for every girl in town, bother of him around,

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just the whole deal and sing, oh, oh.

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Johnney, Johnny, how you can know, Oh Johnny Johnny, heaven

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of my wearebut you make my sad job.

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With John and when you're near right.

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Jos came, it's still another minute.

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Oh oh, Johnny Johnny, if please don't make me what

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makes me love you? You're not handsome, Ministry, but when

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I look at you, I just don't Johnny Johnny, Johnny.

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Mind no, no, no.

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No, Johnny, Janya Daniel Daniel, Johnny Johnny Johnny Johnny.

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Johnny Johnny. Please tell me what makes me?

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What makes me love you?

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So you're not handsome, Ministry, but when I look at you,

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I just don't Johnny. Uh, Johnny.

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Johnny.

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Now, as I mentioned earlier, the Chesterfield Cigarette Show was

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only fifteen minutes long, and this short time crunch only

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allowed the Andrews sisters to sing one song per broadcast.

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Even with the partnership, it was still the Glenn Miller

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Orchestra that was the star of the show and most

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of the musical time, understandably, was devoted to them. They

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played music on the broadcasts such as this.

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Doctor Miller is going to do one now for Count Basie,

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the one o'clock jump walka Jackson.

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Think.

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That was the Glenn Miller Orchestra with the one o'clock jump. So, folks,

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we've established that the Chesterfield Show's producers have felt that

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matching two marquee superstars was a stroke of genius. The teeming, though,

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of the Miller Band and the andrew Sisters, was not

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not a match made in heaven. The Chesterfield radio shows,

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as I stated a little while ago, were only fifteen

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minutes long, which with commercials for the cigarette brand and

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everything else, announcements and such, left only about twelve minutes

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for music on each show. But the Andrews Sisters, well,

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they refused to cut their arrangements, and instead they insisted

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that their songs be reformed exactly as they were recorded.

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Now.

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The sisters were infamous for not getting along, and after

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a few weeks into the radio program they weren't even

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talking to each other. Glenn Miller and the show's producers

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had a hard time figuring out what they actually wanted

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to sing. Apparently, the Andrews Sisters weren't like the say,

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battling Dorsey brothers, Jimmy and Tommy Dorsey, as we've discussed

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many times here on the Make Believe Ballroom, had an

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intense rivalry that sometimes many times deteriorated into physical fights,

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but according to those who knew them, there was still

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love and respect between Tommy and Jimmy. Patty and Maxine Andrews,

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though seemed to have truly hated each other. It was

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only Laverne who held them together, adding to the fights

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they had amongst themselves or the conflicts that they had

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with their father. When the Chesterfield Show with the Miller

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Band began in late December nineteen thirty nine, the sisters

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at the time were living with their parents in a

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suite at the Piccadilly Hotel in New York City. Their father,

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Peter Andrews, wasn't happy with the men. Twenty four year

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old Maxine and the then nearly twenty two year old

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Patty were dating, and you know, we do forget how

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young the Andrews sisters actually were during their hottest years. Well,

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the sisters, because of this bickering and fighting with their

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father moved out of the Piccadilly Hotel on January the

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twenty eighth, nineteen forty and did two days later. There

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was a serious family fight back in the Andrews' parents

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suite that left Peter Andrews spending the night in jail.

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Now believe it or not only Patty Andrews. With all

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this turmoil showed up for the January thirtieth Chesterfield broadcast,

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and as the weeks went on, it was obvious that

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twelve minutes was just not enough time to present properly

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the full Glenn Miller Orchestra and the Andrews Sisters, and

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the battling among Laverne, Maxine and Patty that only added

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to the friction intention and their thirteen week contract was

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not renewed. Glenn Miller continued without them, and he quickly

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proved that as bandon need the andrew Sisters to help

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carry the show. The final radio pro Graham featuring the

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Andrews Sisters with Glenn Miller Orchestra aired on March the

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twenty first, nineteen forty. Let me play the final tune

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they ever sang with Glenn Miller on the radio's Glen Minute.

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You don't Okay, Paul.

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The Andrews Sisters have something here that will be as

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big a hip as Chesterfield's Wait Till You Hear the

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arrangement of Donkey Sarahenae.

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The song in the blazaz You reader, doesn't ef you

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care for the song welsy to them you if you're sure,

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she won't think that I am just a fool seraha

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on music.

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A meg meal, does she not have a dainty brain?

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She listens carefully to.

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Which little tune you play?

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Listen you rita?

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Do you see me muchacha?

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She'd love to say it, to be punishing you the

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