October 10, 2025 • 58 mins
The Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s.
On this week's program: A trivia question about a dance enjoyed by young and old alike, a groundbreaking female vocalist, some songs from the 30s that rocked in the 50s - plus many more great records and stories to cherish and enjoy on this week's broadcast.
On this week's program: A trivia question about a dance enjoyed by young and old alike, a groundbreaking female vocalist, some songs from the 30s that rocked in the 50s - plus many more great records and stories to cherish and enjoy on this week's broadcast.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:12):
It's make Believe Ballom time. Put all your cares away.
Speaker 2 (00:19):
All the bands are here to bring.
Speaker 3 (00:22):
Good cheer your way.
Speaker 1 (00:25):
It's make Belief Ballroom time and free to everyone. It's
no time to friend your Dalis said bombs, close your
eyes and visual lie in your solitude. Your favorite bands
(00:48):
are on this stance, and mister Miller w you in
the boot.
Speaker 4 (00:52):
It's make Believe Ballom time.
Speaker 5 (00:55):
We are a sweet romance.
Speaker 1 (01:00):
As you make bottle.
Speaker 3 (01:01):
Come on, Jon, Last dance, Last, Hello world. I'm Jeff Presler,
turning on the lights of the Make Believe Ballroom and
welcoming you into my Crystal studio for another program of
classic big band hits from the nineteen thirties and forties.
Please get ready as I play for you some amazing
(01:24):
big band jazz, swing, blues, and boogie woogie favorites. Folks,
you're listening to the Make Believe Ballroom, broadcasting almost continuously
since nineteen thirty five, and hi friends, once again, welcome
into the Crystal studio. As I prepare to well, I
(01:45):
prepare to regale you with an eclectic mixture of a
big band tunes and tails. So let's get swinging with
this first selection.
Speaker 2 (03:20):
No, I don't anything. I haven't anything, let anything. Let ahead.
Speaker 3 (05:54):
That was Tommy Dorsey and his Orchestra with Deep River,
recorded on Victor Records, February the seventeenth, nineteen forty one.
Let me play one more song while I now ask
you to ponder this trivia question. The question is what
bandleader invented the beloved conga line? Interestingly enough, a tradition
(06:20):
that started with a nineteen thirties and forties orchestra continues
to this very day at celebrations. I'm sure everybody has
either willfully participated in or was forced to participate in
a conga line somewhere along the line as you celebrated
an event. Let me just give you a quick clue.
(06:42):
It wasn't Xavier Cougart. The answer to that question, though,
after I spin this.
Speaker 6 (06:50):
One, do.
Speaker 7 (08:19):
They take the times even status? The third Passing the Sway,
the Sapping the Sea is the Sas.
Speaker 3 (08:59):
The Sour, recorded in New York City, February the fifteenth,
(09:55):
nineteen thirty seven for Decca Records, and the Kirk and
His Cloud of Joy with Wednesday Night Hop. I'm Jeff Bresler,
and you are listening to the one the only the
original Make Believe Ballroom coming to you today from my
Crystal studio. So I handed out a little trivia assignment
(10:17):
prior to the Kirk record, and the question was what
band leader invented the beloved conga line, A tradition that
started with a nineteen thirties and forties orchestra that continues
at celebrations to this very day, done by both the
young and old alike. And you can't say that about
(10:39):
many dances. And I also told you that it wasn't
Xavier Cougar, so who was it. Well, in the late
nineteen thirties and early forties, he and his orchestra specialized
in conga music. He was able to blend Latin percussion
with American swing made that fusion. He became popular and
(11:03):
he was a regular performer with his orchestra in New
York City at the La Conga Club. He went on
to appear in the movies in the forties and eventually
moved over to television, where he led what was possibly
the most famous TV orchestra of all time. On TV,
(11:25):
he didn't perform at the Lacanga Club, but rather the
Tropicana Nightclub. His band was given the fictitious name of
Ricky Ricardo and his orchestra on that TV program The
Beloved I Love Lucy with Lucille Ball. He was the
(11:46):
Cuban born Latin bandleader Dessi Arnez, who at the very
Lacanga Club in New York City invented the conga line.
Speaker 8 (12:39):
They raved about Sloppy Jewel, the Latin lafario, but Havana
has a new sensation. He's really a modest guy, although
he's the hottest.
Speaker 9 (12:54):
Guy in Havana. And here's what he tells to say.
Speaker 10 (13:00):
They call me Cuban peete.
Speaker 9 (13:03):
I'm the king of the room, a pet.
Speaker 10 (13:06):
When I play the marak as, I go chick chickibum,
chick chickiboo. Yes, sir, I'm Cuban Peete. I'm the craze
of my native street. When I start to dance, everything
goes chick chickibum chick chicky boom.
Speaker 9 (13:22):
That's saying, your readers.
Speaker 10 (13:24):
They sing and how they swing with this rumbo it's.
Speaker 9 (13:28):
Very nice, soft, full of spies.
Speaker 10 (13:33):
And when they're dancing, they bring a happy ring ever
a girl singing a song all the nail. So if
you like the peet, take a lesson from Cuban Peete,
and I'll teach you to chick chickibum chick chickibum, chick
chick ibum.
Speaker 9 (13:55):
See saying you read that, I know that you will
like the cheeky boom.
Speaker 10 (14:01):
Houses the dance of Latin romance and human. It doesn't
teach you in a hurry like God for Curry.
Speaker 11 (14:11):
You're now in Havana and there's always Maniana.
Speaker 10 (14:17):
So saying you reader, please take it easy, do it
with ease, and you'll.
Speaker 5 (14:23):
Love it when you do.
Speaker 10 (14:24):
The chick chick chick abun, chick chick abun, chick chick
chick chick chick abum, chick chick abum chick chickibum.
Speaker 3 (15:07):
Perhaps not a conga, but rather a rumba we just
listened to. That was composed in nineteen thirty six, and
it would become, along with bob Aloo, a signature number
for Desi Arnez, who performed it in a nineteen forty
six musical film called Cuban Pete from RCA Victor Records.
(15:29):
Cuban Pete by Desi Arnez and his orchestra vocal by
Desi and Amanda Lane, recorded back in nineteen forty six
Desi Arnez. So next time you're at a wedding or
a celebration on the conga line, you could say that
it was invented by Ricky Ricardo aka one Desi Arnez.
(16:04):
The Baible, recorded July the twelfth, nineteen thirty nine, at
(17:58):
RCA Victor's Studio Number two in New York City for
their Bluebird label. We just heard Indianna by Earl Hines
and his Orchestra. Why don't I now flip that one over?
Indiana was the B side of that Bluebird record? What
was on the A side? On Riding and Drive in
(20:59):
Neural Hines and his Orchestra the A side of that
Bluebird record, recorded July the twelfth, nineteen thirty nine. I'm
Jeff Bresler, and you're listening to the weekly edition of
the Make Believe Ballroom. I'm so happy you're joining in
listening to this classic big band music along with me.
I want to take a few moments to tell you
(21:20):
about a female singer who was extremely popular. Her sweet
spot was from nineteen thirty four to thirty seven, where
she served as the key vocalist for Benny Goodman and
his orchestra. I'm talking about Helen Ward. She was extremely
talented and in my estimation, she was a groundbreaker in
(21:44):
many ways, but by choice, she cut her career short
after she married Albert Marx, the jazz producer and manager,
in nineteen thirty six. She went on after that to
continue singing, but in a more targeted way. Now Albert
Marx might sound familiar. I spoke about him on a
(22:06):
recent program as the person who had the Benny Goodman
Carnegie Hall concert back in nineteen thirty eight recorded for posterity.
It was a non commercial recording that he made, but
it was eventually released to the public in nineteen fifty.
(22:26):
And I also think it was the great sound engineer
Harry Smith who Marx asked to record the evening using
just one hanging microphone. Was a covert kind of recording.
But that's another story for another time. Now back to Helen.
(22:46):
I said that Helen Ward was a groundbreaker, and I
say that because she will always be remembered as one
of the finest female singers of the early swing era,
who was later emulated by vocalists like Helen Forrest. For example,
she was among the early quote unquote girl singers. Now
(23:11):
that term was not meant by me to be derogatory.
Was the phrase used back then to describe female vocalists.
It was mostly men who held those big band vocalist positions,
and Helen Ward was one of the first to serve
in the role of lead band vocalist as a female.
(23:33):
So let's honor Helen with a couple of Benny Goodman records.
Speaker 4 (24:29):
So you met someone who sent your bags on your nail?
Speaker 2 (24:32):
Good you good e.
Speaker 4 (24:34):
Don't you met someone and now you know how it
feels good?
Speaker 2 (24:38):
Good?
Speaker 4 (24:38):
So you gave her y'all haunt you just as I
gave mine to you, and she broke in a little pieason.
Now how do you do?
Speaker 12 (24:48):
Don't fly away to singing the blues all night?
Speaker 2 (24:53):
Don't you think that loves the ball? Dyn the mine
for rain?
Speaker 12 (24:59):
Hello, you had to coming to you, to her, to
to bore me and to hope you're satisfied.
Speaker 3 (25:09):
You ran you Goody Goody spent four weeks at number
(26:04):
one on the weekly Your Hit Parade Survey from Victor Records.
The Johnny mercer Maddie Malnik written song by Benny Goodman
and his orchestra vocal by Helen Ward, recorded in Chicago
January the twenty fourth, nineteen thirty six, and of course
Goody Goody went on to become a huge hit for
(26:28):
Frankie Lyman What is the name of his group Frankie
Lyman and the Teenagers with their rock and roll version
of Goody Goodye, which they recorded in nineteen fifty seven.
Let me play another one by Helen Ward. So why
don't we go looking at the playlist here? Why don't
we go to a radio remote? This one from February seventeenth,
(26:51):
nineteen thirty six, broadcast on NBC Radio from Chicago's Congress Hotels.
Speaker 12 (27:56):
You live in like a Bomby breeze in the night
is may you hit the nink coolm.
Speaker 9 (28:05):
In June upon the summary day you hit my instormation.
I had to fall, Thank you God so much loss
the bottle. You hit this fall like a person embrace.
Speaker 7 (28:22):
Wins and on his hide us as a bot, I
BENNI my fireside.
Speaker 11 (28:30):
Matter of factly don't know exactly what it is the
new God, but you.
Speaker 9 (28:39):
He's the spot.
Speaker 13 (29:39):
Now. Benny Goodman and his half all of the blaze of.
Speaker 3 (29:44):
Benny Goodman and his orchestra with a vocal by Helen
Ward the song titled you Hit the Spot. I love
those old radio remotes that were brought into folks living
rooms throughout the twenties, thirties, and forties. Two songs sung
(30:04):
by the wonderful Helen Ward. Thanks for joining me today
on the Make Believe Ballroom. We're coming to you from
the Crystal Studio and broadcast to our affiliates across the
USA and in the United Kingdom by the Public Radio
Exchange PRX, the PACIFICA Network, and Global Community Radio, as
(30:28):
well as independently distributed to many stations by the one
and Only Me. Anyway you've gotten here, I am delighted
that you're joining us on the Ballroom today. I'm going
to hold now the next segment of the show in
abeyance because I was thinking, as a result of the
(30:48):
Helen Ward Benny Goodman tunes, a couple of side notes
that came to mind while I was listening to the songs.
I mentioned that Frankie Lyman recorded Goodie Goodie in nineteen
fifty seven, so that brought to mind another record from
a female vocalist who in the early nineteen thirties sang
(31:12):
a tune that also received a later early rock and
roll revival.
Speaker 9 (31:34):
You saw me standing alone. You will follow dreams in my.
Speaker 4 (31:44):
Will follow all of my.
Speaker 2 (31:54):
You knew jaws.
Speaker 9 (31:56):
While I was, You heard me.
Speaker 11 (32:00):
Saying a prayer.
Speaker 9 (32:05):
Some one I really could care.
Speaker 11 (32:11):
And then there's suddenly appear before me, the only one
whom my arms will ever hold. I heard somebody will.
Speaker 13 (32:22):
Please adore me.
Speaker 9 (32:26):
When I love the moon had turned to go. Now
I no longer alone without a dream, in my home,
without alone of my own.
Speaker 11 (32:56):
You saw me standing.
Speaker 9 (32:59):
All without a dreaming my heart.
Speaker 11 (33:07):
Without a law.
Speaker 14 (33:09):
Of my own.
Speaker 2 (33:15):
Bloom. You knew job what I will.
Speaker 11 (33:23):
You heard me say a prayer fall some one I
really could care.
Speaker 8 (33:35):
And then there's suddenly a fear before.
Speaker 9 (33:39):
Me, the only one my arms will have a home.
Speaker 4 (33:46):
I heard somebody was firstly a doorm and when I looked,
the moon.
Speaker 9 (33:54):
Had turned to bow mo without a dreaming with all.
Speaker 3 (34:17):
My Connie Boswell on Brunswick Records with a big hit
for her Blue Moon, recorded back in nineteen thirty five,
and much like Goody Goody, Blue Moon had a doop
(34:39):
version that was sung by the Marcels and it was
recorded in nineteen sixty one. You know It's interesting that
groups like Frankie Lyman and the Marcels went back to
the music of the nineteen thirties and forties to use.
(35:01):
I guess well many of the early rock and roll
and du op artists perhaps were brought up on listening
to big band music on the radio when they were young,
or maybe playing their parents' record collections. Blue Moon just
a side journey here in this week's edition of The
Make Believe Ballroom, and I thought of that song while
(35:23):
listening to Goody Goody, And now as the wheels spin again,
I have another thought in my mind. Of these doop
early rock and roll remakes just came to my mind.
I need to find it on the playlist, so bear
with me for a moment. I have to move over
(35:44):
to the other computer here. Nothing worse than dead air
on the radio. Hold on, I'm on one of my
playlist computers.
Speaker 12 (35:56):
I found it.
Speaker 3 (35:57):
Now I need to press this button and you should
have it.
Speaker 5 (37:17):
Are the scarss out to night? I don't know if
it's cloudy upright, because.
Speaker 9 (37:25):
I only have O oh, you dear.
Speaker 5 (37:33):
The moon may be high, but I can't see a
thing in the sky because I only have E F
you I don't know if we're in a god.
Speaker 13 (37:54):
I'm all rather crowded.
Speaker 4 (37:57):
Of you.
Speaker 5 (38:02):
Here, Soma. Maybe millions of people go far, but they
all disappear.
Speaker 9 (38:12):
From you.
Speaker 2 (38:16):
My Only Have Eyes.
Speaker 3 (38:20):
All from Columbia Records. I Only Have Eyes for You
(39:25):
composed by Harry Warren and Al Dubin Ben Selvin and
his orchestra, vocal by Howard Phillips, recorded in New York
City June the twenty eighth, nineteen thirty four, and remade
into a dua pit in nineteen fifty nine by the
(39:45):
legendary Flamingos. I also think Art Garfunkle covered that song.
Not one hundred percent sure there, but I think he did.
Speaker 5 (39:58):
Well.
Speaker 3 (39:58):
Nevertheless, I said that during the Helen ward segment, I
was thinking of some other things in addition to rock
and roll and duop, and when I played you hit
the Spot the radio remote with Helen and Benny, it
got me to thinking about the songwriting duo of Mac
Gordon and Harry Revel, who composed that great song. So
(40:23):
I don't have to pull my dead air routine like
when I was looking for I Only Have Eyes for You.
I'm going to play a tune and then let you know,
if I found what I'm looking.
Speaker 4 (40:35):
For any.
Speaker 2 (42:41):
Am, it would.
Speaker 3 (43:32):
Recorded in New York City on the twenty ninth of
June nineteen thirty nine for Columbia Records Savoy Stampede, Benny
Carter and his orchestra. I'm Jeff Wrestler and this is
the Make Believe Ballroom. So I found the clip I
was looking for. I spoke before Benny Carter of the
(43:52):
songwriting duo of Mac Gordon and Harry Revel for our
longtime listeners. You know, I enjoy playing records where composers
also sang their own works. I've played records by Well, Hogy,
Carmichael how I hate to get up in Irving Berlin,
(44:13):
George Gershwin, let's see Cole Porter, of course, and who else?
Harold Arland. I played songs that he's done and a
few more. Well mac Gordon. He wrote the lyrics for
a song that saw Eddie dutchin chieve number one hit status.
(44:38):
It was also recorded by Bing Crosby, Al Bowley and
a host of others. Guy Lombardo, I think, also recorded
this song, but lyricist Mac Gordon put his own music
to voice.
Speaker 13 (44:55):
Did you ever see it? Re Well? I did.
Speaker 5 (45:04):
Did you ever hear a dream talking? Well?
Speaker 13 (45:08):
I did?
Speaker 4 (45:11):
Did you ever have a dream?
Speaker 8 (45:14):
Will you with?
Speaker 2 (45:16):
Will you be by?
Speaker 13 (45:19):
Oh it's all grand and it's too too dim mine.
Did you ever see a dream? Nancy relied? Did you
ever see a dream?
Speaker 2 (45:35):
Wrong?
Speaker 5 (45:36):
Nancy?
Speaker 13 (45:38):
Well I did? Did you ever mine heaven fide in
your arms saying.
Speaker 15 (45:45):
I love you?
Speaker 13 (45:46):
An well? The dream that was walking and the dream
that was talking, and the.
Speaker 11 (45:52):
Heaven in marm of you?
Speaker 3 (45:56):
Did you ever see a dream? Walking? Written by Harry Revel,
the lyrics by Mac Gordon, published in nineteen thirty three,
And we just had the pleasure of hearing the actual
lyricist Mac Gordon sing his own song.
Speaker 2 (47:09):
Mm hmm.
Speaker 1 (47:24):
Ain't she sweet? See her comment on the street? Now
ask you very confidentially, ain't she sweet?
Speaker 13 (47:37):
Ain't she nice?
Speaker 1 (47:39):
Look proverty once on twice? Now ask you very confidentially,
ain't she nice?
Speaker 12 (47:48):
Just casting?
Speaker 7 (47:49):
Uh in her direction?
Speaker 1 (47:54):
Oh me, oh my, ain't that perfection?
Speaker 4 (48:00):
Solidude?
Speaker 10 (48:02):
I read?
Speaker 13 (48:04):
Take it out? Don't you think she is neat? And
as you very co and she's sweet? Yes?
Speaker 1 (48:15):
And I in that direction, popa and dig that job
for two.
Speaker 5 (48:20):
And pops, that's perfection sent take it Baby.
Speaker 1 (48:26):
Solidude, I read be that's a fun thing.
Speaker 5 (48:31):
Go down the street?
Speaker 9 (48:33):
Do you dig me?
Speaker 4 (48:35):
I mean confidentially?
Speaker 7 (48:38):
And she's me.
Speaker 3 (48:41):
Ain't she sweet? On Vocalion Records, recorded April the seventh,
nineteen thirty nine, Jimmy Lunceford and his Trio featuring the
vocals of Truemy Young and cy Oliver. This is Jeff Prestler,
and you're listening over the radio today to the Make
Believe Ballroom the same way many listeners enjoyed this very
(49:02):
program over the years since its inception in nineteen thirty five.
He wasn't born in nineteen thirty five. But many of
you may wonder why Lenny from Down the Block, who
was the producer emeritus of the Ballroom, has not been
presenting his record Picks of the Week. An explanation to follow,
(50:01):
not any.
Speaker 4 (50:20):
Yeah, I think the.
Speaker 15 (51:19):
Paper and doing anything. Rever revers.
Speaker 3 (51:52):
Features Good Queen Best, a well known composition by Johnny Hodges,
(52:26):
released by the Johnny Hodges Orchestra in nineteen forty three
on the Bluebird Record label. So why no Lenny from
down the Block? Well, if you've been listening he several
weeks back, it's probably more than a month ago, he
went on an RV trip along with his wife and
(52:48):
a whole bunch of friends who also own RV's. They
formed a caravan. He came back from that. It was
in Texas and he and his wife cooked. Then flew
from Tampa to Fort Lauderdale and headed on a cruise.
They came back from that. I spoke to Lenny. He said,
(53:11):
they love the cruise and now they have this insane idea.
Lenny and his wife Cookie, They've decided on a trial
basis to go on and around the world cruise. Yes, folks,
you can buy a condo stateroom on a ship and
sail the world. If they like the trial, they will
(53:34):
be out to sea for the foreseeable future. Lenny, my friend,
you sold more pizzas at your Palermo palace in Brooklyn
than one could imagine to now live the life of royalty.
So a little seafaring record for you. When my ship
comes in Kate Smith on Decca Records from nineteen thirty four.
Speaker 9 (54:17):
I'll have a golden castle, grand and hall with eighteen
butlers standing in the hall and Walter Disney paintings on
the ball. When my ship comes in I'll leave the
(54:39):
choice of autos up to you. And if you think
a big Rolls Royce will do, I think I'll play
it safe an.
Speaker 4 (54:51):
Order to.
Speaker 9 (54:53):
When my ship comes in a by Barnum and Bailey and.
Speaker 2 (55:04):
Boo right next door.
Speaker 11 (55:08):
They'll give two performances daily for the kids who never
saw show before in golden chairs. Will step our tea
for two. I'll have Jack Miller here to play for you.
Speaker 9 (55:29):
I'll have been Crosbie singing Boo.
Speaker 11 (55:33):
When my ship comes in, I'll buy out every ice
cream factory. All the kids can come and get it every.
Speaker 9 (55:48):
And I'll throw all the spinnach in mussy.
Speaker 14 (55:53):
When my ship comes in, I'll buy him all all
the public schools inside and all day long.
Speaker 2 (56:05):
I'll haven't closed up.
Speaker 11 (56:06):
Time, but they'll be used for picture shows at night.
When my ship comes in, have suits may do measure.
Speaker 2 (56:23):
In back came my store.
Speaker 11 (56:28):
And can you imagine the pleasure were it choosing no
one ever wore before. I'll phone to each department store
and safe all of your Santa Claus and Raise is paid,
(56:48):
and tell him we have Christmas every day.
Speaker 2 (56:52):
When my ship comes in.
Speaker 3 (57:10):
The Great Kate Smith, the first Lady of Song with
a classic depression era song. Folks, we are out of time.
I didn't have a chance to read even one email
today this stacking up. Hopefully we can catch up next week.
To reach me, I'm Jeff at MakeBelieve Ballroomradio dot com.
(57:32):
That's Jeff at MakeBelieve Ballroom Radio dot com and for
past shows over two hundred are archived at MakeBelieve Ballroom
dot com. That's MakeBelieve Ballroom dot com. See you all
next week.
It's make Believe Ballom time. Put all your cares away.
Speaker 2 (00:19):
All the bands are here to bring.
Speaker 3 (00:22):
Good cheer your way.
Speaker 1 (00:25):
It's make Belief Ballroom time and free to everyone. It's
no time to friend your Dalis said bombs, close your
eyes and visual lie in your solitude. Your favorite bands
(00:48):
are on this stance, and mister Miller w you in
the boot.
Speaker 4 (00:52):
It's make Believe Ballom time.
Speaker 5 (00:55):
We are a sweet romance.
Speaker 1 (01:00):
As you make bottle.
Speaker 3 (01:01):
Come on, Jon, Last dance, Last, Hello world. I'm Jeff Presler,
turning on the lights of the Make Believe Ballroom and
welcoming you into my Crystal studio for another program of
classic big band hits from the nineteen thirties and forties.
Please get ready as I play for you some amazing
(01:24):
big band jazz, swing, blues, and boogie woogie favorites. Folks,
you're listening to the Make Believe Ballroom, broadcasting almost continuously
since nineteen thirty five, and hi friends, once again, welcome
into the Crystal studio. As I prepare to well, I
(01:45):
prepare to regale you with an eclectic mixture of a
big band tunes and tails. So let's get swinging with
this first selection.
Speaker 2 (03:20):
No, I don't anything. I haven't anything, let anything. Let ahead.
Speaker 3 (05:54):
That was Tommy Dorsey and his Orchestra with Deep River,
recorded on Victor Records, February the seventeenth, nineteen forty one.
Let me play one more song while I now ask
you to ponder this trivia question. The question is what
bandleader invented the beloved conga line? Interestingly enough, a tradition
(06:20):
that started with a nineteen thirties and forties orchestra continues
to this very day at celebrations. I'm sure everybody has
either willfully participated in or was forced to participate in
a conga line somewhere along the line as you celebrated
an event. Let me just give you a quick clue.
(06:42):
It wasn't Xavier Cougart. The answer to that question, though,
after I spin this.
Speaker 6 (06:50):
One, do.
Speaker 7 (08:19):
They take the times even status? The third Passing the Sway,
the Sapping the Sea is the Sas.
Speaker 3 (08:59):
The Sour, recorded in New York City, February the fifteenth,
(09:55):
nineteen thirty seven for Decca Records, and the Kirk and
His Cloud of Joy with Wednesday Night Hop. I'm Jeff Bresler,
and you are listening to the one the only the
original Make Believe Ballroom coming to you today from my
Crystal studio. So I handed out a little trivia assignment
(10:17):
prior to the Kirk record, and the question was what
band leader invented the beloved conga line, A tradition that
started with a nineteen thirties and forties orchestra that continues
at celebrations to this very day, done by both the
young and old alike. And you can't say that about
(10:39):
many dances. And I also told you that it wasn't
Xavier Cougar, so who was it. Well, in the late
nineteen thirties and early forties, he and his orchestra specialized
in conga music. He was able to blend Latin percussion
with American swing made that fusion. He became popular and
(11:03):
he was a regular performer with his orchestra in New
York City at the La Conga Club. He went on
to appear in the movies in the forties and eventually
moved over to television, where he led what was possibly
the most famous TV orchestra of all time. On TV,
(11:25):
he didn't perform at the Lacanga Club, but rather the
Tropicana Nightclub. His band was given the fictitious name of
Ricky Ricardo and his orchestra on that TV program The
Beloved I Love Lucy with Lucille Ball. He was the
(11:46):
Cuban born Latin bandleader Dessi Arnez, who at the very
Lacanga Club in New York City invented the conga line.
Speaker 8 (12:39):
They raved about Sloppy Jewel, the Latin lafario, but Havana
has a new sensation. He's really a modest guy, although
he's the hottest.
Speaker 9 (12:54):
Guy in Havana. And here's what he tells to say.
Speaker 10 (13:00):
They call me Cuban peete.
Speaker 9 (13:03):
I'm the king of the room, a pet.
Speaker 10 (13:06):
When I play the marak as, I go chick chickibum,
chick chickiboo. Yes, sir, I'm Cuban Peete. I'm the craze
of my native street. When I start to dance, everything
goes chick chickibum chick chicky boom.
Speaker 9 (13:22):
That's saying, your readers.
Speaker 10 (13:24):
They sing and how they swing with this rumbo it's.
Speaker 9 (13:28):
Very nice, soft, full of spies.
Speaker 10 (13:33):
And when they're dancing, they bring a happy ring ever
a girl singing a song all the nail. So if
you like the peet, take a lesson from Cuban Peete,
and I'll teach you to chick chickibum chick chickibum, chick
chick ibum.
Speaker 9 (13:55):
See saying you read that, I know that you will
like the cheeky boom.
Speaker 10 (14:01):
Houses the dance of Latin romance and human. It doesn't
teach you in a hurry like God for Curry.
Speaker 11 (14:11):
You're now in Havana and there's always Maniana.
Speaker 10 (14:17):
So saying you reader, please take it easy, do it
with ease, and you'll.
Speaker 5 (14:23):
Love it when you do.
Speaker 10 (14:24):
The chick chick chick abun, chick chick abun, chick chick
chick chick chick abum, chick chick abum chick chickibum.
Speaker 3 (15:07):
Perhaps not a conga, but rather a rumba we just
listened to. That was composed in nineteen thirty six, and
it would become, along with bob Aloo, a signature number
for Desi Arnez, who performed it in a nineteen forty
six musical film called Cuban Pete from RCA Victor Records.
(15:29):
Cuban Pete by Desi Arnez and his orchestra vocal by
Desi and Amanda Lane, recorded back in nineteen forty six
Desi Arnez. So next time you're at a wedding or
a celebration on the conga line, you could say that
it was invented by Ricky Ricardo aka one Desi Arnez.
(16:04):
The Baible, recorded July the twelfth, nineteen thirty nine, at
(17:58):
RCA Victor's Studio Number two in New York City for
their Bluebird label. We just heard Indianna by Earl Hines
and his Orchestra. Why don't I now flip that one over?
Indiana was the B side of that Bluebird record? What
was on the A side? On Riding and Drive in
(20:59):
Neural Hines and his Orchestra the A side of that
Bluebird record, recorded July the twelfth, nineteen thirty nine. I'm
Jeff Bresler, and you're listening to the weekly edition of
the Make Believe Ballroom. I'm so happy you're joining in
listening to this classic big band music along with me.
I want to take a few moments to tell you
(21:20):
about a female singer who was extremely popular. Her sweet
spot was from nineteen thirty four to thirty seven, where
she served as the key vocalist for Benny Goodman and
his orchestra. I'm talking about Helen Ward. She was extremely
talented and in my estimation, she was a groundbreaker in
(21:44):
many ways, but by choice, she cut her career short
after she married Albert Marx, the jazz producer and manager,
in nineteen thirty six. She went on after that to
continue singing, but in a more targeted way. Now Albert
Marx might sound familiar. I spoke about him on a
(22:06):
recent program as the person who had the Benny Goodman
Carnegie Hall concert back in nineteen thirty eight recorded for posterity.
It was a non commercial recording that he made, but
it was eventually released to the public in nineteen fifty.
(22:26):
And I also think it was the great sound engineer
Harry Smith who Marx asked to record the evening using
just one hanging microphone. Was a covert kind of recording.
But that's another story for another time. Now back to Helen.
(22:46):
I said that Helen Ward was a groundbreaker, and I
say that because she will always be remembered as one
of the finest female singers of the early swing era,
who was later emulated by vocalists like Helen Forrest. For example,
she was among the early quote unquote girl singers. Now
(23:11):
that term was not meant by me to be derogatory.
Was the phrase used back then to describe female vocalists.
It was mostly men who held those big band vocalist positions,
and Helen Ward was one of the first to serve
in the role of lead band vocalist as a female.
(23:33):
So let's honor Helen with a couple of Benny Goodman records.
Speaker 4 (24:29):
So you met someone who sent your bags on your nail?
Speaker 2 (24:32):
Good you good e.
Speaker 4 (24:34):
Don't you met someone and now you know how it
feels good?
Speaker 2 (24:38):
Good?
Speaker 4 (24:38):
So you gave her y'all haunt you just as I
gave mine to you, and she broke in a little pieason.
Now how do you do?
Speaker 12 (24:48):
Don't fly away to singing the blues all night?
Speaker 2 (24:53):
Don't you think that loves the ball? Dyn the mine
for rain?
Speaker 12 (24:59):
Hello, you had to coming to you, to her, to
to bore me and to hope you're satisfied.
Speaker 3 (25:09):
You ran you Goody Goody spent four weeks at number
(26:04):
one on the weekly Your Hit Parade Survey from Victor Records.
The Johnny mercer Maddie Malnik written song by Benny Goodman
and his orchestra vocal by Helen Ward, recorded in Chicago
January the twenty fourth, nineteen thirty six, and of course
Goody Goody went on to become a huge hit for
(26:28):
Frankie Lyman What is the name of his group Frankie
Lyman and the Teenagers with their rock and roll version
of Goody Goodye, which they recorded in nineteen fifty seven.
Let me play another one by Helen Ward. So why
don't we go looking at the playlist here? Why don't
we go to a radio remote? This one from February seventeenth,
(26:51):
nineteen thirty six, broadcast on NBC Radio from Chicago's Congress Hotels.
Speaker 12 (27:56):
You live in like a Bomby breeze in the night
is may you hit the nink coolm.
Speaker 9 (28:05):
In June upon the summary day you hit my instormation.
I had to fall, Thank you God so much loss
the bottle. You hit this fall like a person embrace.
Speaker 7 (28:22):
Wins and on his hide us as a bot, I
BENNI my fireside.
Speaker 11 (28:30):
Matter of factly don't know exactly what it is the
new God, but you.
Speaker 9 (28:39):
He's the spot.
Speaker 13 (29:39):
Now. Benny Goodman and his half all of the blaze of.
Speaker 3 (29:44):
Benny Goodman and his orchestra with a vocal by Helen
Ward the song titled you Hit the Spot. I love
those old radio remotes that were brought into folks living
rooms throughout the twenties, thirties, and forties. Two songs sung
(30:04):
by the wonderful Helen Ward. Thanks for joining me today
on the Make Believe Ballroom. We're coming to you from
the Crystal Studio and broadcast to our affiliates across the
USA and in the United Kingdom by the Public Radio
Exchange PRX, the PACIFICA Network, and Global Community Radio, as
(30:28):
well as independently distributed to many stations by the one
and Only Me. Anyway you've gotten here, I am delighted
that you're joining us on the Ballroom today. I'm going
to hold now the next segment of the show in
abeyance because I was thinking, as a result of the
(30:48):
Helen Ward Benny Goodman tunes, a couple of side notes
that came to mind while I was listening to the songs.
I mentioned that Frankie Lyman recorded Goodie Goodie in nineteen
fifty seven, so that brought to mind another record from
a female vocalist who in the early nineteen thirties sang
(31:12):
a tune that also received a later early rock and
roll revival.
Speaker 9 (31:34):
You saw me standing alone. You will follow dreams in my.
Speaker 4 (31:44):
Will follow all of my.
Speaker 2 (31:54):
You knew jaws.
Speaker 9 (31:56):
While I was, You heard me.
Speaker 11 (32:00):
Saying a prayer.
Speaker 9 (32:05):
Some one I really could care.
Speaker 11 (32:11):
And then there's suddenly appear before me, the only one
whom my arms will ever hold. I heard somebody will.
Speaker 13 (32:22):
Please adore me.
Speaker 9 (32:26):
When I love the moon had turned to go. Now
I no longer alone without a dream, in my home,
without alone of my own.
Speaker 11 (32:56):
You saw me standing.
Speaker 9 (32:59):
All without a dreaming my heart.
Speaker 11 (33:07):
Without a law.
Speaker 14 (33:09):
Of my own.
Speaker 2 (33:15):
Bloom. You knew job what I will.
Speaker 11 (33:23):
You heard me say a prayer fall some one I
really could care.
Speaker 8 (33:35):
And then there's suddenly a fear before.
Speaker 9 (33:39):
Me, the only one my arms will have a home.
Speaker 4 (33:46):
I heard somebody was firstly a doorm and when I looked,
the moon.
Speaker 9 (33:54):
Had turned to bow mo without a dreaming with all.
Speaker 3 (34:17):
My Connie Boswell on Brunswick Records with a big hit
for her Blue Moon, recorded back in nineteen thirty five,
and much like Goody Goody, Blue Moon had a doop
(34:39):
version that was sung by the Marcels and it was
recorded in nineteen sixty one. You know It's interesting that
groups like Frankie Lyman and the Marcels went back to
the music of the nineteen thirties and forties to use.
(35:01):
I guess well many of the early rock and roll
and du op artists perhaps were brought up on listening
to big band music on the radio when they were young,
or maybe playing their parents' record collections. Blue Moon just
a side journey here in this week's edition of The
Make Believe Ballroom, and I thought of that song while
(35:23):
listening to Goody Goody, And now as the wheels spin again,
I have another thought in my mind. Of these doop
early rock and roll remakes just came to my mind.
I need to find it on the playlist, so bear
with me for a moment. I have to move over
(35:44):
to the other computer here. Nothing worse than dead air
on the radio. Hold on, I'm on one of my
playlist computers.
Speaker 12 (35:56):
I found it.
Speaker 3 (35:57):
Now I need to press this button and you should
have it.
Speaker 5 (37:17):
Are the scarss out to night? I don't know if
it's cloudy upright, because.
Speaker 9 (37:25):
I only have O oh, you dear.
Speaker 5 (37:33):
The moon may be high, but I can't see a
thing in the sky because I only have E F
you I don't know if we're in a god.
Speaker 13 (37:54):
I'm all rather crowded.
Speaker 4 (37:57):
Of you.
Speaker 5 (38:02):
Here, Soma. Maybe millions of people go far, but they
all disappear.
Speaker 9 (38:12):
From you.
Speaker 2 (38:16):
My Only Have Eyes.
Speaker 3 (38:20):
All from Columbia Records. I Only Have Eyes for You
(39:25):
composed by Harry Warren and Al Dubin Ben Selvin and
his orchestra, vocal by Howard Phillips, recorded in New York
City June the twenty eighth, nineteen thirty four, and remade
into a dua pit in nineteen fifty nine by the
(39:45):
legendary Flamingos. I also think Art Garfunkle covered that song.
Not one hundred percent sure there, but I think he did.
Speaker 5 (39:58):
Well.
Speaker 3 (39:58):
Nevertheless, I said that during the Helen ward segment, I
was thinking of some other things in addition to rock
and roll and duop, and when I played you hit
the Spot the radio remote with Helen and Benny, it
got me to thinking about the songwriting duo of Mac
Gordon and Harry Revel, who composed that great song. So
(40:23):
I don't have to pull my dead air routine like
when I was looking for I Only Have Eyes for You.
I'm going to play a tune and then let you know,
if I found what I'm looking.
Speaker 4 (40:35):
For any.
Speaker 2 (42:41):
Am, it would.
Speaker 3 (43:32):
Recorded in New York City on the twenty ninth of
June nineteen thirty nine for Columbia Records Savoy Stampede, Benny
Carter and his orchestra. I'm Jeff Wrestler and this is
the Make Believe Ballroom. So I found the clip I
was looking for. I spoke before Benny Carter of the
(43:52):
songwriting duo of Mac Gordon and Harry Revel for our
longtime listeners. You know, I enjoy playing records where composers
also sang their own works. I've played records by Well, Hogy,
Carmichael how I hate to get up in Irving Berlin,
(44:13):
George Gershwin, let's see Cole Porter, of course, and who else?
Harold Arland. I played songs that he's done and a
few more. Well mac Gordon. He wrote the lyrics for
a song that saw Eddie dutchin chieve number one hit status.
(44:38):
It was also recorded by Bing Crosby, Al Bowley and
a host of others. Guy Lombardo, I think, also recorded
this song, but lyricist Mac Gordon put his own music
to voice.
Speaker 13 (44:55):
Did you ever see it? Re Well? I did.
Speaker 5 (45:04):
Did you ever hear a dream talking? Well?
Speaker 13 (45:08):
I did?
Speaker 4 (45:11):
Did you ever have a dream?
Speaker 8 (45:14):
Will you with?
Speaker 2 (45:16):
Will you be by?
Speaker 13 (45:19):
Oh it's all grand and it's too too dim mine.
Did you ever see a dream? Nancy relied? Did you
ever see a dream?
Speaker 2 (45:35):
Wrong?
Speaker 5 (45:36):
Nancy?
Speaker 13 (45:38):
Well I did? Did you ever mine heaven fide in
your arms saying.
Speaker 15 (45:45):
I love you?
Speaker 13 (45:46):
An well? The dream that was walking and the dream
that was talking, and the.
Speaker 11 (45:52):
Heaven in marm of you?
Speaker 3 (45:56):
Did you ever see a dream? Walking? Written by Harry Revel,
the lyrics by Mac Gordon, published in nineteen thirty three,
And we just had the pleasure of hearing the actual
lyricist Mac Gordon sing his own song.
Speaker 2 (47:09):
Mm hmm.
Speaker 1 (47:24):
Ain't she sweet? See her comment on the street? Now
ask you very confidentially, ain't she sweet?
Speaker 13 (47:37):
Ain't she nice?
Speaker 1 (47:39):
Look proverty once on twice? Now ask you very confidentially,
ain't she nice?
Speaker 12 (47:48):
Just casting?
Speaker 7 (47:49):
Uh in her direction?
Speaker 1 (47:54):
Oh me, oh my, ain't that perfection?
Speaker 4 (48:00):
Solidude?
Speaker 10 (48:02):
I read?
Speaker 13 (48:04):
Take it out? Don't you think she is neat? And
as you very co and she's sweet? Yes?
Speaker 1 (48:15):
And I in that direction, popa and dig that job
for two.
Speaker 5 (48:20):
And pops, that's perfection sent take it Baby.
Speaker 1 (48:26):
Solidude, I read be that's a fun thing.
Speaker 5 (48:31):
Go down the street?
Speaker 9 (48:33):
Do you dig me?
Speaker 4 (48:35):
I mean confidentially?
Speaker 7 (48:38):
And she's me.
Speaker 3 (48:41):
Ain't she sweet? On Vocalion Records, recorded April the seventh,
nineteen thirty nine, Jimmy Lunceford and his Trio featuring the
vocals of Truemy Young and cy Oliver. This is Jeff Prestler,
and you're listening over the radio today to the Make
Believe Ballroom the same way many listeners enjoyed this very
(49:02):
program over the years since its inception in nineteen thirty five.
He wasn't born in nineteen thirty five. But many of
you may wonder why Lenny from Down the Block, who
was the producer emeritus of the Ballroom, has not been
presenting his record Picks of the Week. An explanation to follow,
(50:01):
not any.
Speaker 4 (50:20):
Yeah, I think the.
Speaker 15 (51:19):
Paper and doing anything. Rever revers.
Speaker 3 (51:52):
Features Good Queen Best, a well known composition by Johnny Hodges,
(52:26):
released by the Johnny Hodges Orchestra in nineteen forty three
on the Bluebird Record label. So why no Lenny from
down the Block? Well, if you've been listening he several
weeks back, it's probably more than a month ago, he
went on an RV trip along with his wife and
(52:48):
a whole bunch of friends who also own RV's. They
formed a caravan. He came back from that. It was
in Texas and he and his wife cooked. Then flew
from Tampa to Fort Lauderdale and headed on a cruise.
They came back from that. I spoke to Lenny. He said,
(53:11):
they love the cruise and now they have this insane idea.
Lenny and his wife Cookie, They've decided on a trial
basis to go on and around the world cruise. Yes, folks,
you can buy a condo stateroom on a ship and
sail the world. If they like the trial, they will
(53:34):
be out to sea for the foreseeable future. Lenny, my friend,
you sold more pizzas at your Palermo palace in Brooklyn
than one could imagine to now live the life of royalty.
So a little seafaring record for you. When my ship
comes in Kate Smith on Decca Records from nineteen thirty four.
Speaker 9 (54:17):
I'll have a golden castle, grand and hall with eighteen
butlers standing in the hall and Walter Disney paintings on
the ball. When my ship comes in I'll leave the
(54:39):
choice of autos up to you. And if you think
a big Rolls Royce will do, I think I'll play
it safe an.
Speaker 4 (54:51):
Order to.
Speaker 9 (54:53):
When my ship comes in a by Barnum and Bailey and.
Speaker 2 (55:04):
Boo right next door.
Speaker 11 (55:08):
They'll give two performances daily for the kids who never
saw show before in golden chairs. Will step our tea
for two. I'll have Jack Miller here to play for you.
Speaker 9 (55:29):
I'll have been Crosbie singing Boo.
Speaker 11 (55:33):
When my ship comes in, I'll buy out every ice
cream factory. All the kids can come and get it every.
Speaker 9 (55:48):
And I'll throw all the spinnach in mussy.
Speaker 14 (55:53):
When my ship comes in, I'll buy him all all
the public schools inside and all day long.
Speaker 2 (56:05):
I'll haven't closed up.
Speaker 11 (56:06):
Time, but they'll be used for picture shows at night.
When my ship comes in, have suits may do measure.
Speaker 2 (56:23):
In back came my store.
Speaker 11 (56:28):
And can you imagine the pleasure were it choosing no
one ever wore before. I'll phone to each department store
and safe all of your Santa Claus and Raise is paid,
(56:48):
and tell him we have Christmas every day.
Speaker 2 (56:52):
When my ship comes in.
Speaker 3 (57:10):
The Great Kate Smith, the first Lady of Song with
a classic depression era song. Folks, we are out of time.
I didn't have a chance to read even one email
today this stacking up. Hopefully we can catch up next week.
To reach me, I'm Jeff at MakeBelieve Ballroomradio dot com.
(57:32):
That's Jeff at MakeBelieve Ballroom Radio dot com and for
past shows over two hundred are archived at MakeBelieve Ballroom
dot com. That's MakeBelieve Ballroom dot com. See you all
next week.
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