March 28, 2025
mbbr3282025
On this week's Make Believe Ballroom broadcast on member-supported Jazz 90.1 in Rochester, NY, and other fine radio affiliates across the United States as well as in the United Kingdom – a Doo Wop surprise, a dancing trivia question, an email from a...
On this week's Make Believe Ballroom broadcast on member-supported Jazz 90.1 in Rochester, NY, and other fine radio affiliates across the United States as well as in the United Kingdom – a Doo Wop surprise, a dancing trivia question, an email from a beloved listener, Lenny from Down the Block's Record Pick of the Week, listeners emails - this and many more great records to cherish and enjoy on the program.
WEBVTT
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It's make believe ballroom time.
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Put all your cares away.
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All the bands are here to bring good cheer your way.
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It's make believe ballroom time and free to everyone.
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It's no time to friend your Dalis.
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Said Bamba yours, close your eyes.
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And vis you lie in your solitude.
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Your favorite bands are on this dance and mister Miller,
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what you're in the mood.
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It's make believe ballroom time.
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We are of sweet romance.
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As you make it.
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Boo, Come on, Joe the last dast 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 the great big band hits
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of the nineteen thirties and nineteen forties. Whether you're listening
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on the radio via great affiliates like Jazz ninety point
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one WGMC in Rochester, New York, or maybe you're listening
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today on the podcast, or perhaps even on internet radio
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across the United Kingdom. Any way you've got here, I'm
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happy as I am delighted to bring you an hour
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of some wonderful big band jazz, swing, blues and boogie
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woogie classics. Folks, you're listening to The Make Believe Ballroom,
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broadcasting almost continuously since nineteen hundred and thirty five, and
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once again, welcome one and all into my Crystal studio.
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And why don't I start today's program with a question,
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that question being do you guys like leftovers? I certainly do.
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Leftover Chinese food is my favorite. But I also have
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for you today on this program a big band leftover,
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and maybe a few more a little later on in
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the program. Last week, if you were with us, I
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discussed Harry James love and total obsession with the game
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of baseball, and to follow up that story, I played
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a couple of Harry James tunes and I was hoping
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last week to play one more, but I looked at
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the clock and I knew I wasn't going to be
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able to squeeze that one in, and that specific tune
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has in essence become a leftover that I will now
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play for you to get. The thing is underway. On
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today's edition of The Make Foley ball Room.
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And fo.
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Partners, we just heard Texas Chatter. Harry James and his Orchestra,
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recorded on Brunswick Records in New York, City on January
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the fifth, nineteen thirty eight, A tasty leftover. Indeed, here
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on the one, the only, the original make Believe Ballroom.
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Let me play one more tune, few nice folks and then, well,
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you know, many of you might have thought that duop
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started in the nineteen fifties. And if that's what you think,
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I have a surprise for you right after this record
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and a stet I just played for your listening pleasure,
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Rollum Benny Goodman and his Orchestra, recorded on Victor Records
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in Hollywood, California, July the seventh, nineteen thirty seven. So, friends,
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many of us think that doop started in the early fifties. Well,
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it did become extremely popular in the fifties, as we know,
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with the groups like well, groups such as the Well,
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the Orioles, the Platters, the Moonglows, the Five Keys. I
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could go on and on, But in actuality, the origins
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of the dou wop sound go back to believe it
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or not, a group called the Triangle Quartet who recorded
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a song titled Doodling Back for Paramount Records way back
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in nineteen twenty nine. But in my humble estimation, I
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think the true fathers, the forefathers of do wop, And
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if you're in aficionado of duop, you might disagree with me,
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But I think they were a group called The Cats
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and the Fiddle. They were an African American singing group
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that formed a nineteen thirty seven in Chicago, and they
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stayed active until nineteen fifty one, in that time, releasing
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more than forty recorded sides. So it busy fourteen years
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for them for the Cats in the Fiddle. On December seventh,
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nineteen thirty nine, on the Bluebird Record label, they released
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their signature song. That was a tune called I Miss
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You So I want to play that song for you,
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A little doop my friend's nineteen thirties style, those.
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Happy hours that counts for ours. I'm missing your signo.
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Most of all.
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I misusal.
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Now then I'm lonely. I want you only to share
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my dreams once for jeez, come back, I misusal, I
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don't and jusy we never got my.
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And now I'm longing for you to be. I'll always
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love you and I'll need you.
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Oh honey doors you know, Oh stove fall, I miss
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us the ooh stove wall.
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I missus.
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Bose stove fall.
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I missus.
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I don't use it indeed ever, And now I'm long.
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On you to.
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Be.
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I always love you and I'll be honeyed, you know, mos.
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Do I love yousue more than I miss you.
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So the early roots of do up via the cats
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and the fiddle, another swinging tune for you all. Then
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I have a great trivia question, ma'am.
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Listen what I've got to say. The King has.
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Called for us to come and wait for him today.
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Now our music will be out of place, and this
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key's caught, you'll fly. So here's what I've got to say.
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And please marry in line that every night.
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The executed trump attack trumbone drum. You to houses swinging
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This one fall.
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Of the game.
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All the saxophones play soft with while we played that
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royal coll swinging.
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There one fall of the game.
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Oh when we play shake that thing, everybody shake. I'll
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take it nice and easy. House King will take the place.
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Look at Pats, he's all excited.
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You're not sure he will be nicer?
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Houses swinging.
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There's one fall of the kid.
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Uh huh.
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We just heard Joe Haims and his orchestra with swinging
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for the King vocal on that one by Toots Mondelo
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re recorded on the Perfect Record label in nineteen thirty five.
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So I told you I had a trivia question. A
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little background. A Broadway musical comedy show called Funny Face
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was composed by George Gershwin with lyrics by his brother
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Ira Gershwin. Now a show which opened at the Alvin
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Theater in New York City in nineteen twenty seven, starred
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Fred Astaire and his sister Adele as his dance partner.
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Adele dancing with Fred long before Ginger Rogers. But in
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regard to that show Funny Face, there's a great trivia
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question about us Stare that came out of his appearance
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in that production, and it had to do with the garments,
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as in clothing garments. Can you figure out what garments
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I am talking about? Think about it while we hear
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from the man himself, mister Fred Astare, ha ha.
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He he you think the laps on me. They all
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laughed at Bristopher Columbus when he said the world was wrong.
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They all laughed when Ederson recorded sounds. They all laughed
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at Wilburan's brother when they said the man could fly.
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They told Marconi wireless was a pony. It's the same.
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Old Friday laughed at me, wanting you. He said, I
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was reaching for the moon. But all you came through.
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Now they'll have to change their tune.
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They all said, we never could be happy.
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They laughed at us, and how but Paul, who's got
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the last last job?
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The odds were one hundred to one against me.
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The world, but the heights were too high, too high.
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But people from Missouri never incensed me. Oh, I wasn't
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a bit concerned.
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Or from history, I had learned how many many times
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the worm had turned. They all laughed at Rockefeller Center.
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Now they're fighting to get him. They all laughed at
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Whitney and his cotton gin. They all laughed at Bolton
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and the sea boat, Hershey and his chocolate.
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Bar Ford and is busy kept the lapper's busy. That's
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how people are.
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They laughed at me. Why you said it would be
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hello goodbye? But all you came through now they're eating
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humble pie. They all said, we'd never forget together. Darling,
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let's take a bound for who's got the last laugh?
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And while the last laugh, who's got the last laugh?
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Now?
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Brunswick records They All Laughed, written by George Gershwin with
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lyrics by Ira Gershwin here sung by Fred Astaire, with
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the orchestra conducted by Johnny Green, recorded in Los Angeles,
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March the eighteenth, nineteen thirty seven. And They All Laughed
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first appeared on the movie screens in the nineteen thirty
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seven film Shall We Dance, where it was introduced by
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Ginger Rogers as part of a song and dance routine
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with fred Astaire. Ginger also went on to make her
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own recording of They All Laughed. So my question was
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not about the movie, but the musical Funny Face back
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in nineteen twenty seven, where that song was first introduced,
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where I asked what clothing did Fred Astare wear for
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the first time in his career? And the answer is
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it was in this show Funny Face, that Fred Astaire
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first danced in evening clothes and a top hat. A
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little trivia if you hear today on the Make Believe Ballroom,
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in just a minute, the listeners recorded comment, yes, folks,
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not an email like we traditionally read to you here
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on the show, but a recorded comment.
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Every magazine gives attention, Every magazine gives a mention two
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or three danceyly, why once you visits there, once your
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business there before ist you listen to my story.
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It's five street I swing.
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It was just the normal street bill It got that
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all time. Be now with the place when this wing
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can be fifty second Street, it's an endless whoho ho
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where the tall.
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Rest from esclo.
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It's find the thing when you're beating all this sagum
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street a few times you like the rhythm rocking making
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a runaboot go. The swing is absolutely shock in the
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Mama Thank book or Tomama Swing too. It's a world
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that's set upon. It's west swinging, got it all.
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It's not complete.
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I'm a swinging hot.
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It's like fifteen you'll.
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Find the lifting fifty second Street. This to so swing
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har on on next coming from the well, No, n next.
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It was swinging visual ready you should mean the young
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man that travel is the cad they and deck when
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the way the swing, glad.
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Wall Street swings its corporations. But if the second Street
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has increpation.
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Money.
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Man.
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That was a great swinger from Barney Raps Orchestra with
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a Ruby Wright vocal as Barney and his New Englanders
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paid tribute to New York City's iconic fifty second Street,
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where during the thirties and forties and into the early fifties, scores,
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literally scores of jazz clubs graced that block fifty second Street.
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Barney Rapp and his New Englanders on Variety Records, recorded
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in nineteen thirty seven. I'm Jeff Bresler, and this is
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the Make Believe Ballroom. I hope you're enjoying the program
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so far, and I love to hear from you. I'm
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Jeff at MakeBelieve Ballroomradio dot com. That's Jeff at Make
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Believe Ballroomradio dot com. And a big thumbs up to
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one Mark Dagan who took the time not to send
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an email but record lord some wonderful comments and a request.
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On Make Believe Ballroom Podcast dot com. You could go
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on the website, which archives all of our shows. We
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do this after we air them on the radio. We
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put those radio programs into a podcast form for posterity.
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So if you go to Make Believe Ballroom Podcast dot
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Com on the homepage, you're going to see a little microphone.
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I think it's at the bottom right of the page.
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Well you hit that, it's going to take you to
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another page where the instructions are on how to record
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a message and press another button. Go ahead and record
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away your requests and comments that I will play.
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On the air.
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And I think Mark was I know a woman wants
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use the record button. So I guess Mark, you're just
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the second person in a number of years who took
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the bowls step of recording a message. You are also
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welcome to do that friends. As I said, enough said,
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So what did Mark say on his recording?
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Hi, Jeff Mark Gagan from Carmel, Indiana. A number of
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weeks ago, you spoke of a big band radio show
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that parodied a famous highbrow classical program. During the segment,
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you mentioned the name of Lui Gen Norman as a
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featured singer. While I had never heard her mentioned in
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this context, I recognized her name as the soaring, otherworldly
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soprano who vocalizes on the original nineteen sixty six Star
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Trek TV show theme. I had always assumed she was
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merely some La based opera singer with Hollywood studio connections.
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