October 24, 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: Two Bandleaders are better than one, some bands that performed at the legendary Onyx Club, tracing a Glenn Miller song, plus many more great records and stories to cherish and enjoy on this week's broadcast.
On this week's program: Two Bandleaders are better than one, some bands that performed at the legendary Onyx Club, tracing a Glenn Miller song, plus many more great records and stories to cherish and enjoy on this week's broadcast.
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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.
All the bands are here to bring good cheer your way.
It's make Belief ballroom time and free to everyone. It's
(00:33):
no time to friend your Dalis said bombs. Close your
eyes and visual lize in your solitude.
Speaker 2 (00:46):
Your favorite bands are on this stance, and mister Miller
w you in the boot.
Speaker 1 (00:52):
It's make Believe Ballroom time.
Speaker 2 (00:55):
We are a sweet romance as you make.
Speaker 1 (01:01):
Come on, Jos dast.
Speaker 3 (01:06):
Hello world, I'm Jeff Presler, turning on the lights of
the Make Believe Ballroom me 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 big band jazz, swing, blues,
(01:26):
and boogie woogie favorites. Folks, you're listening to the Make
Believe Ballroom, broadcasting almost continuously since nineteen thirty five. My friends,
and thanks for joining me in the Crystal studio today
for another show featuring seventy eight RPM recordings along with
(01:47):
fascinating stories of legendary band leaders, musicians, composers, and vocalists.
Well at least I think they're fascinating, but I'll leave
that up to you. Why don't we start with one
one of those fascinating stories? Why did I even say that?
There was an interesting collaboration that took place between nineteen
(02:10):
thirty five and thirty eight when an orchestra was formed
by lyricist Eddie DeLange. Eddie started the band and then
quickly realized he needed help with arranging, so he turned
to composer and arranger Will Hudson. And what Eddie did
(02:31):
was offer him a full partnership in the orchestra in
return for his arrangement services. And that partnership and the
way it was structured, resulted in great popularity for the duo.
They recorded more than fifty records and they appeared at
over two hundred ball dates in addition to hotel appearances.
(02:57):
So let's play a couple of records from this dynamic
swing duo that became known as the Hudson Delaang Orchestra
(05:51):
on Brunswick Records. We just heard Magnolia by the Hudson
Delang Orchestra, recorded in New York City, made the twenty seventh,
nineteen thirty seven. So as you heard Hudson Delang. Well,
they had what could be best described I guess you
would describe them as a gentle swing band, very nice sound,
(06:16):
two talented band leaders and songwriters, and Will as an arranger.
So with that combination you would figure the band would
have had greater longevity than the four years that they
were in existence. Well, unfortunately, the partnership between Hudson and
de Lang began to strain due to differences in personality
(06:41):
and direction, so eventually, in early nineteen thirty eight, they
dissolved the Hudson Delang Orchestra. There was a big blow
to fans, but both guys, Will Hudson and Eddie Delang
after the split, remained successful, equally successful both songwriters and bandleaders.
(07:03):
Let me play one more from Will and Eddie sa
(10:25):
via Brunswick Records. Midnight at the Onyx, written and arranged
by Will Hudson, performed by the Hudson Delang Orchestra, recorded
in New York City, November the twenty third, nineteen thirty six.
So the title of the song I just played Midnight
at the Onyx refers to Manhattan's famed a nineteen thirties
(10:50):
and forties jazz spot, The Onyx Club, which was a
former well, it was a former speakeasy, located a few
different areas of Manhattan, but finally settling on West fifty
second Street. Now, I discussed on past programs the history
(11:10):
of fifty second Street, where both sides of the street
were packed with jazz clubs. The street was nicknamed Swing
Street as a matter of fact, come to think of it,
if you were with us last week, I played a
song by Dolly Dawn and her Dawn Patrol which was
an homage to fifty second Street. Now, I can only
(11:34):
assume but probably Will Hudson and Eddie DeLange while working
in New York. They recorded in New York and often
played at the Terrorist Room of the New York Or Hotel.
Probably one night after a recording session or after a
hotel gig, Will and Eddie might just have headed over
(11:57):
to the Onyx Club to get something to eat, eaton,
listen to some fine music. And that is why they
paid homage to the Onyx Club with Midnight at the Onyx. Now,
Larry Clinton and I told this story on a previous show,
wrote his very popular song Dipsy Doodle on an Onyx
(12:20):
club menu one night when he was at the club.
The Onyx actually got its name due to its black
onyx colored bar. The club, as I mentioned, began as
a speakeasy during Prohibition, but it went legitimate in nineteen
thirty four and became a jazz club, and unlike Ballroom's,
(12:44):
performances at the Onyx were more small group, intimate, jazz oriented,
and the club quickly became and remained a magnet for
musicians hanging out in midtown after a big your band
gigs like Hudson DeLange and Larry Clinton did frequent visitors
(13:06):
to the Onyx Club. Why don't we take some time
to listen to a few of the better known small
jazz performers who graced the Onyx Club with their music.
Why don't we start. Let me pull up my Onyx
playlist here. Why don't we start with one of my favorites,
(13:27):
stuph Smith.
Speaker 4 (14:09):
It ain't right to do what you do with me.
It ain't right, so don't be a true me. It
ain't right, So bad, mama, I'm talking. It ain't nothing
that you handed out to me.
Speaker 2 (14:21):
It ain't not not don't start you shout to me.
It ain't love so bad? Fi fair well, Oh goodbye?
Now I go on, but what the news?
Speaker 4 (14:31):
You have killed my dole and goose from my amor
mothers come to devil, do nothing for me.
Speaker 2 (14:38):
It ain't fined, bay tho, it ain't fight.
Speaker 5 (14:42):
No, no, Mama, don't do that.
Speaker 4 (14:44):
You know where they right there?
Speaker 6 (14:47):
Go for it.
Speaker 3 (15:29):
As we just heard, it ain't right one of a
(16:10):
string of records that Stuff and his Onyx Club Band
recorded for Vocalian Records Back in nineteen thirty six, when
the Onyx Club became a jazz venue after Prohibition, Stup
Smith became one of the featured headliners, and his group
Stup Smith and his Onyx Club Boys that we just heard,
(16:33):
served for a time as the official house band. I'm
Jeff Presler and you're listening to the one, the only,
the original Make Believe Ballroom, and I'm currently playing the
seventy eight RPM records of some jazz greats of the
thirties and forties who were regulars on the stage at
the Onyx Club on fifty Second Street in Manhattan. Here
(16:58):
now is a record from one one of the greatest
jazz pianists of all time, and he found his first
regular work at the old Onyx Club. Many art Tatum
(20:15):
and his swingsters Body and Soul, recorded in Los Angeles
back in nineteen thirty seven. Art Tatum during his early
Onyx Club appearances. Believe it or not, Art Who, as
I mentioned earlier, was to go on to be one
of the greatest jazz pianists of all time back then,
(20:40):
was only sometimes brought in as an intermission pianist and
heat play between the sets of these Spirits of Rhythm,
one of the club's early headliner groups. And why were
they a headliner group because they had a lot of talent.
And you can hear this talent on the record. I
am about to play.
Speaker 7 (21:15):
I've got rhythm, You've got rhythm. I've got my gam
who laughs.
Speaker 4 (21:21):
Plenty that on.
Speaker 7 (21:23):
I've got Daisy in green Pastor. I've got my.
Speaker 8 (21:28):
Gal who las.
Speaker 9 (21:31):
Old man fellow.
Speaker 7 (21:33):
I don't find him.
Speaker 8 (21:35):
You won't find him round my door. I've got dark lights,
I've got sweet trees.
Speaker 7 (21:42):
I've got my gam who laugh at anything anything more.
Speaker 2 (22:19):
I don't let me try.
Speaker 6 (22:21):
I didn't mean not to dry.
Speaker 9 (22:23):
I don't never cry.
Speaker 6 (22:24):
Not that's not nothing.
Speaker 9 (22:25):
Letter h that's nothing, nothing better, something dr that's not
not better, nothing that I nothing A little at not
how do you go?
Speaker 6 (22:36):
How do I go?
Speaker 9 (22:36):
Get a guy I love not th I I let him,
let him, let him better, let him, no, let let
up the little let us, but let let that learn,
not learn other letter.
Speaker 6 (22:53):
Perfect, I said I. I tut not loud. Why should
(23:31):
I stud.
Speaker 5 (23:38):
Old man trouble?
Speaker 8 (23:40):
I don't mind him. You won't mind him, no, miele,
I said I.
Speaker 3 (24:00):
On Parlophone Records recorded in New York City, October twenty fourth,
nineteen thirty three, the Five Spirits of Rhythm with I
Got Rhythm, and that was the first record ever recorded
by the Five Spirits of Rhythm. And you heard Leo
Watson as the lead vocalist and scat master on that one.
(24:22):
I might not be a scat master or have great rhythm,
but I am Jeff Bresler, and I have records to
play due to the fact that I am the host
of the Make Believe Ballroom, and that is what we
do here each week, play the music of the legends
of the Big Band. Arin. Thanks for joining me today
in the Crystal studio where I am playing. Well, it's
(24:45):
really turning into a little mini alumni reunion of sorts.
I'm playing some wonderful small group jazz musicians who played
frequently at the Onyx Club on fifty Second Street in
New York City. Now, how about a little trumpet.
Speaker 2 (26:52):
Lazy y y me.
Speaker 3 (27:48):
On Decca Records, recorded in New York City on November
the eleventh, nineteen forty. We just heard Hot Lips Page
in his band with the song titled South Now. Hot
Lips Page made his mark on the Onyx Club in
the nineteen forties. Hot Lips loved all the clubs on
(28:09):
fifty second Street, and he loved them so much, and
he hung out on the street so frequently that musicians
said you could almost pick a night any night and
hear Hot Lips somewhere on the block playing his trumpet.
The Onyx Club was one of his favorite bandstands, and
Hot Lips had said during an interview was because of
(28:34):
its reputation for showcasing quote unquote both hot soloists and vocalists.
We just heard the great Hot Lips Page. I have
a bunch more on the playlist of Onyx Club alumni,
but let me play. Let's see, I'll play two more
(28:56):
for you, find folks. I said that Hot Lips Page
commented on how we liked the Onyx because of their
hot soloists and vocalists. Now, one of the greatest vocalists
of the era appeared at the club. I'm talking about
Mildred Bally. Mildred loved the Onyx, and the Onyx loved her.
(29:20):
Having Mildred Bally there gave the Onyx added prestige. She
was one of the most popular female jazz singers of
the nineteen thirties. Alongside Well, I would put her alongside
Billie Holiday and Ivy Anderson. Mildred sang at the Onyx,
often usually with the John Kirby group in the Well
(29:44):
in the late nineteen thirties. Let me choose one by
Mildred for you. Yeah, I like this one.
Speaker 5 (30:00):
You told me that you loved me true, and I
believe in you.
Speaker 2 (30:08):
You broke your bowel.
Speaker 5 (30:10):
Now somehow things I'm always glue. But they'll come a
day when you're far away.
Speaker 2 (30:22):
You sit alone and cried for me.
Speaker 5 (30:25):
You say some of days that have gone by, some
days to read heart. You may be sorry all what
you've done, you high poor heart.
Speaker 2 (30:43):
You may regret.
Speaker 5 (30:47):
The vowel you broke, and the things you did made
us drift apart.
Speaker 2 (30:58):
You'll having now I cast be how the weary blue.
Speaker 5 (31:09):
Will ever come to you?
Speaker 2 (31:12):
What you know?
Speaker 5 (31:16):
How shall you reap? What you read will make you weep?
Some days sweet.
Speaker 10 (31:25):
Are come they street hears.
Speaker 5 (32:28):
You may be sorry, but what you've done with Tom
your horror.
Speaker 8 (32:38):
You may regrets.
Speaker 5 (32:42):
The ball you.
Speaker 2 (32:43):
Rogas have, the thing you did that maye.
Speaker 5 (32:49):
Us dripped apart.
Speaker 2 (32:52):
You're happy now and you can't see how the weary blue.
Speaker 6 (33:08):
You know?
Speaker 5 (33:10):
Oh yeah, you read.
Speaker 3 (33:22):
Mildred Bailey on Vocalion Records from nineteen thirty five with
Someday Sweetheart. I said I would play two more for you.
We just played Mildred Bailey. So how about one from
a frequent visitor to the Onyx Club. He wasn't a
recurring presence like a Hot Lips page, but he was
(33:46):
another pianist, certainly on the same orbit and same level
as our Tatum, and he played at the Onyx Club
whenever he had a chance. I'm talking about the great
Eddie Wilson. I'm from the Keystone Transcriptions Teddy Wilson on
(36:25):
the piano with his rendition of Sunday recorded in nineteen
thirty nine. Friends, it was my pleasure during this last
segment to talk about and play some music from some
of the great musicians who loved to play on fifty
Second Street in Manhattan and more specifically at the Long
(36:47):
Gone Onyx Club. I'm not long gone, at least I
hope not. But either way, I'm Jeff Wrestler and you're
listening to the Make Believe Ballroom where I now want
to talk about the evil Lucian of his song, specifically
a Glenn Miller song. Back in nineteen thirty five, Glenn
(37:09):
composed an instrumental piece that he called Miller's Tune. Now,
I've talked on this program in the past about a
gentleman named Joseph Schillinger. He was not everyone's cup of tea,
that's for sure. He was a little strange in his
(37:30):
musical thought process, to say the least. So in nineteen
thirty five, Miller was studying with Joseph, who, by way
of introduction, was a Ukrainian born quote unquote music theorist
who believed you could write music strangely enough, with mathematics, Yes, mathematics,
(37:56):
using geometry, permutations, charge arts, and graphics. I told you
he was kind of weird. Now, most musicians, although some
did become disciples of a Schillinger. Most musicians, though, thought
it was too complicated or too strange to study with him.
(38:22):
But Glenn Miller he took it to heart. So Cylinger
taught him how to spread harmonies out like a blueprint,
and in the instance of the song that Miller had written,
that blueprint had clarinet's soaring on top, saxophones fanned out
(38:42):
beneath all in precise intervals. Well, that's the sound you
hear in a number of Miller tunes. So for this
composition that Miller wrote, Miller's tune that some say was
actually a homework assignment from Schillinger, you heard a class
ironnett lead floating over four saxophones moving in a smooth
(39:05):
parallel motion. So instead of a brassy shout, Miller, following
the blueprint got a dreamy halo of sound, which was
scientific calculated, but it did manufacture what would become an
unforgettable melody. Miller was very happy with the results, so
(39:30):
Glenn pitched his composition. The music he wrote was then
used for a song titled Now I Lay Me Down
to Weep, with the lyrics by Eddie Hayman and initially
sung by Al Bowley. Al Bowley minus the Raynobel Orchestra.
(39:51):
The tune then had a few other iterations. It was
adapted into a song called Gone with the On with
lyrics by George Simon. Then it moved on to become
called The Wind in the Trees with lyrics by Mitchell Parrish.
(40:12):
But in nineteen thirty nine, after writing the song in
thirty five and having it kicked around for a few years,
the song finally found its final home with his Glenn
Miller's own orchestra. And what song was it? A Moonlight
(43:54):
Serenade by Glenn Miller and his Orchestra, recorded on Bluebird
Wrecks April fourth, nineteen thirty nine, a song that had
a weird beginning that went on to become Glenn Miller's
theme and one of the most iconic songs of the
big band era. Now. When Bluebird released the record, it
(44:19):
was on the B side of a disc that featured
this song as the premiere, a side offering.
Speaker 2 (46:18):
M can.
Speaker 3 (46:48):
Really Sunrise serenade by Glenn Miller and his orchestra. The
(47:57):
Frankie Carl written to moon climbed to number two on
the weekly Your Hit Parade charts, but Moonlight Serenade quickly
outshone Sunrise Serenade in popularity and was reissued by Bluebird
as the A side, with Sunrise Serenade moving over to
(48:19):
the B side. And how you may wonder did Moonlight
Serenade get its name after going through all those other
iterations of names. Well, the powers that be at RCA
Bluebird figured that the A side was Sunrise Serenade and
it would only be natural to call the B side
(48:41):
Moonlight Serenade. So, folks, that's how Moonlight Serenade evolved into
one of the finding songs of the Swing era.
Speaker 2 (49:40):
Sing and Sing and then.
Speaker 3 (50:33):
Anything recorded in New York City on February fourth, nineteen
(51:58):
forty Jay and Sam and his Top hatters Blues in
the Groove from Brunswick Records. You know, during the playing
of Blues in the Groove and talking before about Glenn
Miller made me think of my old high school band teacher,
band leader, mister Stein. He used to tell us this
(52:21):
Glenn Miller's story. Another one of those stories where I
really don't know if it was true or not. I've
heard different versions, but nevertheless, if we were having a
bad rehearsal, like a sloppy rehearsal, missing notes and stuff.
Stein would always say that Glenn Miller demanded absolute precision.
(52:45):
Miss a note, and it wasn't just embarrassing. It costs
your money. He told us. Miller find musicians twenty five
cents for every mistake. And I was always in fear
Stein would find us and I'd lose my pizza money.
We stopped with the guys for pizza after school. Certainly
(53:08):
a traumatic band experience at the hands of mister Stein.
Speaker 2 (54:14):
See the pretty apple top of the dreams.
Speaker 7 (54:17):
Higher up the sweeter it drows tacking through, got to
see up under co See the pretty penhouse.
Speaker 1 (54:27):
Compoperable, higher up the higher rent coals.
Speaker 7 (54:31):
Get that job.
Speaker 8 (54:32):
Don't be your goot Up on your toes, very climb Brook.
Speaker 1 (54:39):
To come through with her veil, but damn sing clow.
Speaker 7 (54:44):
Look up to some rail nail like that of stam Ale.
Speaker 1 (54:48):
See the pretty lady top up the cup.
Speaker 6 (54:51):
You want to know where the windows?
Speaker 7 (54:54):
Then, my boney, you'd better house under your.
Speaker 6 (54:59):
Toes up.
Speaker 3 (55:58):
From Brunswick Records, Ruby Newman and his Orchestra On your
Toes with the Buddy Clark Vocal, recorded March the eleventh,
nineteen thirty six. In New York City. And now as
I peer at the big bull of a clock here
on the wall in the Crystal Studio, I realize we are.
Speaker 1 (56:20):
Yes, we are.
Speaker 3 (56:20):
We're totally out of time. Thanks for joining me today.
Make Believe Ballroom is 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
well as independently distributed to many stations directly from the
(56:43):
offices of the Crystal Studio. To reach me, I'm Jeff
at MakeBelieve Ballroom Radio dot com. That's Jeff and MakeBelieve
Ballroom Radio dot Com. And folks, Once our show's clear
our radio affiliates, they're placed in archive and podcast form.
You could go to MakeBelieve Ballroom dot com. MakeBelieve Ballroom
(57:06):
dot Com to here. Over two hundred past programs in
this series, So friends, until next week. This has been
Jeff Bresler
It's make Believe ballom time. Put all your cares away.
All the bands are here to bring good cheer your way.
It's make Belief ballroom time and free to everyone. It's
(00:33):
no time to friend your Dalis said bombs. Close your
eyes and visual lize in your solitude.
Speaker 2 (00:46):
Your favorite bands are on this stance, and mister Miller
w you in the boot.
Speaker 1 (00:52):
It's make Believe Ballroom time.
Speaker 2 (00:55):
We are a sweet romance as you make.
Speaker 1 (01:01):
Come on, Jos dast.
Speaker 3 (01:06):
Hello world, I'm Jeff Presler, turning on the lights of
the Make Believe Ballroom me 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 big band jazz, swing, blues,
(01:26):
and boogie woogie favorites. Folks, you're listening to the Make
Believe Ballroom, broadcasting almost continuously since nineteen thirty five. My friends,
and thanks for joining me in the Crystal studio today
for another show featuring seventy eight RPM recordings along with
(01:47):
fascinating stories of legendary band leaders, musicians, composers, and vocalists.
Well at least I think they're fascinating, but I'll leave
that up to you. Why don't we start with one
one of those fascinating stories? Why did I even say that?
There was an interesting collaboration that took place between nineteen
(02:10):
thirty five and thirty eight when an orchestra was formed
by lyricist Eddie DeLange. Eddie started the band and then
quickly realized he needed help with arranging, so he turned
to composer and arranger Will Hudson. And what Eddie did
(02:31):
was offer him a full partnership in the orchestra in
return for his arrangement services. And that partnership and the
way it was structured, resulted in great popularity for the duo.
They recorded more than fifty records and they appeared at
over two hundred ball dates in addition to hotel appearances.
(02:57):
So let's play a couple of records from this dynamic
swing duo that became known as the Hudson Delaang Orchestra
(05:51):
on Brunswick Records. We just heard Magnolia by the Hudson
Delang Orchestra, recorded in New York City, made the twenty seventh,
nineteen thirty seven. So as you heard Hudson Delang. Well,
they had what could be best described I guess you
would describe them as a gentle swing band, very nice sound,
(06:16):
two talented band leaders and songwriters, and Will as an arranger.
So with that combination you would figure the band would
have had greater longevity than the four years that they
were in existence. Well, unfortunately, the partnership between Hudson and
de Lang began to strain due to differences in personality
(06:41):
and direction, so eventually, in early nineteen thirty eight, they
dissolved the Hudson Delang Orchestra. There was a big blow
to fans, but both guys, Will Hudson and Eddie Delang
after the split, remained successful, equally successful both songwriters and bandleaders.
(07:03):
Let me play one more from Will and Eddie sa
(10:25):
via Brunswick Records. Midnight at the Onyx, written and arranged
by Will Hudson, performed by the Hudson Delang Orchestra, recorded
in New York City, November the twenty third, nineteen thirty six.
So the title of the song I just played Midnight
at the Onyx refers to Manhattan's famed a nineteen thirties
(10:50):
and forties jazz spot, The Onyx Club, which was a
former well, it was a former speakeasy, located a few
different areas of Manhattan, but finally settling on West fifty
second Street. Now, I discussed on past programs the history
(11:10):
of fifty second Street, where both sides of the street
were packed with jazz clubs. The street was nicknamed Swing
Street as a matter of fact, come to think of it,
if you were with us last week, I played a
song by Dolly Dawn and her Dawn Patrol which was
an homage to fifty second Street. Now, I can only
(11:34):
assume but probably Will Hudson and Eddie DeLange while working
in New York. They recorded in New York and often
played at the Terrorist Room of the New York Or Hotel.
Probably one night after a recording session or after a
hotel gig, Will and Eddie might just have headed over
(11:57):
to the Onyx Club to get something to eat, eaton,
listen to some fine music. And that is why they
paid homage to the Onyx Club with Midnight at the Onyx. Now,
Larry Clinton and I told this story on a previous show,
wrote his very popular song Dipsy Doodle on an Onyx
(12:20):
club menu one night when he was at the club.
The Onyx actually got its name due to its black
onyx colored bar. The club, as I mentioned, began as
a speakeasy during Prohibition, but it went legitimate in nineteen
thirty four and became a jazz club, and unlike Ballroom's,
(12:44):
performances at the Onyx were more small group, intimate, jazz oriented,
and the club quickly became and remained a magnet for
musicians hanging out in midtown after a big your band
gigs like Hudson DeLange and Larry Clinton did frequent visitors
(13:06):
to the Onyx Club. Why don't we take some time
to listen to a few of the better known small
jazz performers who graced the Onyx Club with their music.
Why don't we start. Let me pull up my Onyx
playlist here. Why don't we start with one of my favorites,
(13:27):
stuph Smith.
Speaker 4 (14:09):
It ain't right to do what you do with me.
It ain't right, so don't be a true me. It
ain't right, So bad, mama, I'm talking. It ain't nothing
that you handed out to me.
Speaker 2 (14:21):
It ain't not not don't start you shout to me.
It ain't love so bad? Fi fair well, Oh goodbye?
Now I go on, but what the news?
Speaker 4 (14:31):
You have killed my dole and goose from my amor
mothers come to devil, do nothing for me.
Speaker 2 (14:38):
It ain't fined, bay tho, it ain't fight.
Speaker 5 (14:42):
No, no, Mama, don't do that.
Speaker 4 (14:44):
You know where they right there?
Speaker 6 (14:47):
Go for it.
Speaker 3 (15:29):
As we just heard, it ain't right one of a
(16:10):
string of records that Stuff and his Onyx Club Band
recorded for Vocalian Records Back in nineteen thirty six, when
the Onyx Club became a jazz venue after Prohibition, Stup
Smith became one of the featured headliners, and his group
Stup Smith and his Onyx Club Boys that we just heard,
(16:33):
served for a time as the official house band. I'm
Jeff Presler and you're listening to the one, the only,
the original Make Believe Ballroom, and I'm currently playing the
seventy eight RPM records of some jazz greats of the
thirties and forties who were regulars on the stage at
the Onyx Club on fifty Second Street in Manhattan. Here
(16:58):
now is a record from one one of the greatest
jazz pianists of all time, and he found his first
regular work at the old Onyx Club. Many art Tatum
(20:15):
and his swingsters Body and Soul, recorded in Los Angeles
back in nineteen thirty seven. Art Tatum during his early
Onyx Club appearances. Believe it or not, Art Who, as
I mentioned earlier, was to go on to be one
of the greatest jazz pianists of all time back then,
(20:40):
was only sometimes brought in as an intermission pianist and
heat play between the sets of these Spirits of Rhythm,
one of the club's early headliner groups. And why were
they a headliner group because they had a lot of talent.
And you can hear this talent on the record. I
am about to play.
Speaker 7 (21:15):
I've got rhythm, You've got rhythm. I've got my gam
who laughs.
Speaker 4 (21:21):
Plenty that on.
Speaker 7 (21:23):
I've got Daisy in green Pastor. I've got my.
Speaker 8 (21:28):
Gal who las.
Speaker 9 (21:31):
Old man fellow.
Speaker 7 (21:33):
I don't find him.
Speaker 8 (21:35):
You won't find him round my door. I've got dark lights,
I've got sweet trees.
Speaker 7 (21:42):
I've got my gam who laugh at anything anything more.
Speaker 2 (22:19):
I don't let me try.
Speaker 6 (22:21):
I didn't mean not to dry.
Speaker 9 (22:23):
I don't never cry.
Speaker 6 (22:24):
Not that's not nothing.
Speaker 9 (22:25):
Letter h that's nothing, nothing better, something dr that's not
not better, nothing that I nothing A little at not
how do you go?
Speaker 6 (22:36):
How do I go?
Speaker 9 (22:36):
Get a guy I love not th I I let him,
let him, let him better, let him, no, let let
up the little let us, but let let that learn,
not learn other letter.
Speaker 6 (22:53):
Perfect, I said I. I tut not loud. Why should
(23:31):
I stud.
Speaker 5 (23:38):
Old man trouble?
Speaker 8 (23:40):
I don't mind him. You won't mind him, no, miele,
I said I.
Speaker 3 (24:00):
On Parlophone Records recorded in New York City, October twenty fourth,
nineteen thirty three, the Five Spirits of Rhythm with I
Got Rhythm, and that was the first record ever recorded
by the Five Spirits of Rhythm. And you heard Leo
Watson as the lead vocalist and scat master on that one.
(24:22):
I might not be a scat master or have great rhythm,
but I am Jeff Bresler, and I have records to
play due to the fact that I am the host
of the Make Believe Ballroom, and that is what we
do here each week, play the music of the legends
of the Big Band. Arin. Thanks for joining me today
in the Crystal studio where I am playing. Well, it's
(24:45):
really turning into a little mini alumni reunion of sorts.
I'm playing some wonderful small group jazz musicians who played
frequently at the Onyx Club on fifty Second Street in
New York City. Now, how about a little trumpet.
Speaker 2 (26:52):
Lazy y y me.
Speaker 3 (27:48):
On Decca Records, recorded in New York City on November
the eleventh, nineteen forty. We just heard Hot Lips Page
in his band with the song titled South Now. Hot
Lips Page made his mark on the Onyx Club in
the nineteen forties. Hot Lips loved all the clubs on
(28:09):
fifty second Street, and he loved them so much, and
he hung out on the street so frequently that musicians
said you could almost pick a night any night and
hear Hot Lips somewhere on the block playing his trumpet.
The Onyx Club was one of his favorite bandstands, and
Hot Lips had said during an interview was because of
(28:34):
its reputation for showcasing quote unquote both hot soloists and vocalists.
We just heard the great Hot Lips Page. I have
a bunch more on the playlist of Onyx Club alumni,
but let me play. Let's see, I'll play two more
(28:56):
for you, find folks. I said that Hot Lips Page
commented on how we liked the Onyx because of their
hot soloists and vocalists. Now, one of the greatest vocalists
of the era appeared at the club. I'm talking about
Mildred Bally. Mildred loved the Onyx, and the Onyx loved her.
(29:20):
Having Mildred Bally there gave the Onyx added prestige. She
was one of the most popular female jazz singers of
the nineteen thirties. Alongside Well, I would put her alongside
Billie Holiday and Ivy Anderson. Mildred sang at the Onyx,
often usually with the John Kirby group in the Well
(29:44):
in the late nineteen thirties. Let me choose one by
Mildred for you. Yeah, I like this one.
Speaker 5 (30:00):
You told me that you loved me true, and I
believe in you.
Speaker 2 (30:08):
You broke your bowel.
Speaker 5 (30:10):
Now somehow things I'm always glue. But they'll come a
day when you're far away.
Speaker 2 (30:22):
You sit alone and cried for me.
Speaker 5 (30:25):
You say some of days that have gone by, some
days to read heart. You may be sorry all what
you've done, you high poor heart.
Speaker 2 (30:43):
You may regret.
Speaker 5 (30:47):
The vowel you broke, and the things you did made
us drift apart.
Speaker 2 (30:58):
You'll having now I cast be how the weary blue.
Speaker 5 (31:09):
Will ever come to you?
Speaker 2 (31:12):
What you know?
Speaker 5 (31:16):
How shall you reap? What you read will make you weep?
Some days sweet.
Speaker 10 (31:25):
Are come they street hears.
Speaker 5 (32:28):
You may be sorry, but what you've done with Tom
your horror.
Speaker 8 (32:38):
You may regrets.
Speaker 5 (32:42):
The ball you.
Speaker 2 (32:43):
Rogas have, the thing you did that maye.
Speaker 5 (32:49):
Us dripped apart.
Speaker 2 (32:52):
You're happy now and you can't see how the weary blue.
Speaker 6 (33:08):
You know?
Speaker 5 (33:10):
Oh yeah, you read.
Speaker 3 (33:22):
Mildred Bailey on Vocalion Records from nineteen thirty five with
Someday Sweetheart. I said I would play two more for you.
We just played Mildred Bailey. So how about one from
a frequent visitor to the Onyx Club. He wasn't a
recurring presence like a Hot Lips page, but he was
(33:46):
another pianist, certainly on the same orbit and same level
as our Tatum, and he played at the Onyx Club
whenever he had a chance. I'm talking about the great
Eddie Wilson. I'm from the Keystone Transcriptions Teddy Wilson on
(36:25):
the piano with his rendition of Sunday recorded in nineteen
thirty nine. Friends, it was my pleasure during this last
segment to talk about and play some music from some
of the great musicians who loved to play on fifty
Second Street in Manhattan and more specifically at the Long
(36:47):
Gone Onyx Club. I'm not long gone, at least I
hope not. But either way, I'm Jeff Wrestler and you're
listening to the Make Believe Ballroom where I now want
to talk about the evil Lucian of his song, specifically
a Glenn Miller song. Back in nineteen thirty five, Glenn
(37:09):
composed an instrumental piece that he called Miller's Tune. Now,
I've talked on this program in the past about a
gentleman named Joseph Schillinger. He was not everyone's cup of tea,
that's for sure. He was a little strange in his
(37:30):
musical thought process, to say the least. So in nineteen
thirty five, Miller was studying with Joseph, who, by way
of introduction, was a Ukrainian born quote unquote music theorist
who believed you could write music strangely enough, with mathematics, Yes, mathematics,
(37:56):
using geometry, permutations, charge arts, and graphics. I told you
he was kind of weird. Now, most musicians, although some
did become disciples of a Schillinger. Most musicians, though, thought
it was too complicated or too strange to study with him.
(38:22):
But Glenn Miller he took it to heart. So Cylinger
taught him how to spread harmonies out like a blueprint,
and in the instance of the song that Miller had written,
that blueprint had clarinet's soaring on top, saxophones fanned out
(38:42):
beneath all in precise intervals. Well, that's the sound you
hear in a number of Miller tunes. So for this
composition that Miller wrote, Miller's tune that some say was
actually a homework assignment from Schillinger, you heard a class
ironnett lead floating over four saxophones moving in a smooth
(39:05):
parallel motion. So instead of a brassy shout, Miller, following
the blueprint got a dreamy halo of sound, which was
scientific calculated, but it did manufacture what would become an
unforgettable melody. Miller was very happy with the results, so
(39:30):
Glenn pitched his composition. The music he wrote was then
used for a song titled Now I Lay Me Down
to Weep, with the lyrics by Eddie Hayman and initially
sung by Al Bowley. Al Bowley minus the Raynobel Orchestra.
(39:51):
The tune then had a few other iterations. It was
adapted into a song called Gone with the On with
lyrics by George Simon. Then it moved on to become
called The Wind in the Trees with lyrics by Mitchell Parrish.
(40:12):
But in nineteen thirty nine, after writing the song in
thirty five and having it kicked around for a few years,
the song finally found its final home with his Glenn
Miller's own orchestra. And what song was it? A Moonlight
(43:54):
Serenade by Glenn Miller and his Orchestra, recorded on Bluebird
Wrecks April fourth, nineteen thirty nine, a song that had
a weird beginning that went on to become Glenn Miller's
theme and one of the most iconic songs of the
big band era. Now. When Bluebird released the record, it
(44:19):
was on the B side of a disc that featured
this song as the premiere, a side offering.
Speaker 2 (46:18):
M can.
Speaker 3 (46:48):
Really Sunrise serenade by Glenn Miller and his orchestra. The
(47:57):
Frankie Carl written to moon climbed to number two on
the weekly Your Hit Parade charts, but Moonlight Serenade quickly
outshone Sunrise Serenade in popularity and was reissued by Bluebird
as the A side, with Sunrise Serenade moving over to
(48:19):
the B side. And how you may wonder did Moonlight
Serenade get its name after going through all those other
iterations of names. Well, the powers that be at RCA
Bluebird figured that the A side was Sunrise Serenade and
it would only be natural to call the B side
(48:41):
Moonlight Serenade. So, folks, that's how Moonlight Serenade evolved into
one of the finding songs of the Swing era.
Speaker 2 (49:40):
Sing and Sing and then.
Speaker 3 (50:33):
Anything recorded in New York City on February fourth, nineteen
(51:58):
forty Jay and Sam and his Top hatters Blues in
the Groove from Brunswick Records. You know, during the playing
of Blues in the Groove and talking before about Glenn
Miller made me think of my old high school band teacher,
band leader, mister Stein. He used to tell us this
(52:21):
Glenn Miller's story. Another one of those stories where I
really don't know if it was true or not. I've
heard different versions, but nevertheless, if we were having a
bad rehearsal, like a sloppy rehearsal, missing notes and stuff.
Stein would always say that Glenn Miller demanded absolute precision.
(52:45):
Miss a note, and it wasn't just embarrassing. It costs
your money. He told us. Miller find musicians twenty five
cents for every mistake. And I was always in fear
Stein would find us and I'd lose my pizza money.
We stopped with the guys for pizza after school. Certainly
(53:08):
a traumatic band experience at the hands of mister Stein.
Speaker 2 (54:14):
See the pretty apple top of the dreams.
Speaker 7 (54:17):
Higher up the sweeter it drows tacking through, got to
see up under co See the pretty penhouse.
Speaker 1 (54:27):
Compoperable, higher up the higher rent coals.
Speaker 7 (54:31):
Get that job.
Speaker 8 (54:32):
Don't be your goot Up on your toes, very climb Brook.
Speaker 1 (54:39):
To come through with her veil, but damn sing clow.
Speaker 7 (54:44):
Look up to some rail nail like that of stam Ale.
Speaker 1 (54:48):
See the pretty lady top up the cup.
Speaker 6 (54:51):
You want to know where the windows?
Speaker 7 (54:54):
Then, my boney, you'd better house under your.
Speaker 6 (54:59):
Toes up.
Speaker 3 (55:58):
From Brunswick Records, Ruby Newman and his Orchestra On your
Toes with the Buddy Clark Vocal, recorded March the eleventh,
nineteen thirty six. In New York City. And now as
I peer at the big bull of a clock here
on the wall in the Crystal Studio, I realize we are.
Speaker 1 (56:20):
Yes, we are.
Speaker 3 (56:20):
We're totally out of time. Thanks for joining me today.
Make Believe Ballroom is 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
well as independently distributed to many stations directly from the
(56:43):
offices of the Crystal Studio. To reach me, I'm Jeff
at MakeBelieve Ballroom Radio dot com. That's Jeff and MakeBelieve
Ballroom Radio dot Com. And folks, Once our show's clear
our radio affiliates, they're placed in archive and podcast form.
You could go to MakeBelieve Ballroom dot com. MakeBelieve Ballroom
(57:06):
dot Com to here. Over two hundred past programs in
this series, So friends, until next week. This has been
Jeff Bresler
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