October 31, 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: An introduction to King Garcia, an obscure band with some world-class musicians, the most recorded bandleader of all time, plus many more great records and stories to cherish and enjoy on this week's broadcast.
On this week's program: An introduction to King Garcia, an obscure band with some world-class musicians, the most recorded bandleader of all time, 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 (00:01):
Time.
Speaker 2 (00:13):
It's make Believe ballroom time. Put all your cares away.
All the bands are here to bring good cheer your way.
It's make Believe ballroom time and free to everyone. It's
(00:34):
no time to friend your Dalis.
Speaker 3 (00:36):
Said Bob yours.
Speaker 2 (00:41):
Close your eyes and visualize in your solitude your favorite
bands are on this dance and mister Miller, what you're
in the mood.
Speaker 4 (00:53):
It's make Believe ballroom time.
Speaker 3 (00:56):
We are a sweet romance as you make it, Bob,
Come on, John Last Das.
Speaker 5 (01:05):
Last, Hello World.
Speaker 6 (01:08):
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 big band jazz, swing, blues, and boogie
(01:28):
woogie favorites. Folks, you're listening to the Make Believe Ballroom,
broadcasting almost continuously since nineteen thirty five. Hi, folks, once again,
thanks for joining me today in the Crystal Studio. How
about I start today's program with a little history lesson.
Speaker 1 (02:05):
In Louiiana. Purchase I'll tell you what it means it means,
(02:39):
I'd like to sell you New Orleans. Common Comana. You
all can go to Hinde way down in New Orleans.
(03:10):
Louiseaiana salesman with nothing in his genes, That's why I'd
like to sell.
Speaker 5 (03:20):
You New Orleans.
Speaker 7 (03:22):
Come on, come on and do all the things there
are to do in New Orleans.
Speaker 1 (03:43):
Where does that he come from? That rhythmic bed come from?
Speaker 8 (03:50):
And that read me.
Speaker 1 (03:52):
Come from New Orleans? Yes, sir, Louiseasiena perts, Yes.
Speaker 3 (04:01):
I told you what it means.
Speaker 1 (04:05):
So won't you let me sell you New Orleans? Come on,
come on, and you all can go to town way
down in New Orleans. Louisiana Purchase. I told you what
(04:51):
it means, so won't you let me sell you New All?
Speaker 6 (05:14):
That was the Irving Berlin penned title song from his
Broadway musical of the same name, Louisiana Purchase Here performed
by Ray Noble and his orchestra, vocal by Don Bonnie,
recorded in New York City, made the twenty first nineteen forty.
(05:36):
The eighteen three Louisiana Purchase, which in essence just about
doubled the size of the United States. Since we are
on the topic of history. Why don't I continue this
makeshift history lesson with this one about a historic ocean
(05:58):
faring figure.
Speaker 9 (06:09):
Mister Christopher Columber sailor see without the Coming When he
men began.
Speaker 10 (06:21):
A rubber.
Speaker 9 (06:24):
Osbald Christopher Columber. Mister Christopher Columba, he used rhythm as
(07:34):
his comfort music ended all the lumber wise old Christopher.
Speaker 6 (07:44):
Columbia recorded in New York City on February the twenty eighth,
(08:50):
nineteen thirty six for Regal Zonophone Records. Louis King Garcia
and his swing band with their full rendition of Christopher
Columbus and an amazing band Louis King Garcia put together.
He was playing the trumpet, Maurice Samuel on the trombone,
(09:12):
the legendary Joe Marsala playing the clarinet, herbiehemer Tenor Sachs
Adrian Rolini the master on the piano, the guitar standout
Carmen Mastron, Sid Weiss string bass played for Benny Goodman,
and did Dan Darcy on the drums and providing the vocal.
Speaker 2 (09:36):
Now.
Speaker 6 (09:37):
Louis Garcia, if you don't know much about him, was
a Puerto Rican born trumpet player. He had a stellar resume.
He moved to the US from Puerto Rico early in
the nineteen twenties, where he Louis Garcia played with the
original Dixieland Jazz Band. In the thirties, he worked mostly
(09:59):
as a sideman in recording studios, where he played frequently
for both Jimmy and Tommy Dorsey. He also played with
Vic Burton, Richard Himber, Richard Himber we covered on the
program Not Too Long Ago, Net brand Wine, and Louis Prima.
(10:22):
Now Louis Garcia occasionally put together a small band, and
he cut some records like Christopher Columbus, Let me play
one More by King Garcia.
Speaker 9 (11:20):
Swing mister Charlie, Full swing, mister Charlie. I don't care
what you just make it a hot to lay bar
or two of a theme les Tho. Every note you
hit is hotter than anything I've heard since the swing began.
(11:40):
All swing, mister Charlie, All swing, mister Charlie. No bum
can't swing it like I can't get enough of the
swingable stuff. Wall Swing to Charlie, Just winging.
Speaker 6 (13:20):
On Bluebird Records from nineteen thirty six, King Louis Garcia
and his Orchestra with swing mister Charlie vocal by Dan Darcy.
I'm not Charlie, but rather Jeff Bresler and friends. You're
listening to the one, the only, the original Make Believe Ballroom,
(13:41):
where it was just my pleasure to introduce you to
King Garcia, whose music I don't think I ever played
on the Make Believe Ballroom, and I don't think I
ever played music by this quote unquote little known group.
The record might be a little scratchy, but the music
(14:02):
ain't from Decca Records. Three Little Words by the Chicagoans,
(16:49):
recorded in Chicago, Illinois, November the nineteenth, nineteen thirty five.
Oh I neglected to mention one thing. The full name
of the group was actually Gene Crooper and his Chicagoans.
Now you might be saying, wait a minute, Jeff wasn't
Crouper playing drums for Benny Goodman in nineteen thirty five.
(17:12):
And the answer to that question is yes. You might
follow that one up with, well, wait a minute, Jeff,
the piano player on that record sounded like Jess Stacey,
who also played for Benny Goodman. Excellent observation, and the
answer to that question is also yes. And a final
(17:34):
question you may be asking is wait a minute, Jeff,
that clarinet has sounded unmistakably just like Benny Goodman. Well,
good reason to believe that, because it was indeed Benny Goodman. Now,
while Benny was under contract to Victor Records at the time,
for whatever reason, and if you know, please email me
(17:57):
at Jeff at make Bully Ballroom Radio die. For whatever reason,
he asked Croupa to front this group, Jin Croupa and
the Chicagoans. My best guess is that it was well
it was.
Speaker 5 (18:10):
It was pretty.
Speaker 6 (18:11):
Common for musicians in the nineteen thirties to record for
different labels under alternate group names. They did this to
get around exclusive contract restrictions, sometimes to make a little
extra money. Now, at the time, Croupa was also under
(18:32):
an exclusive contract with Benny Goodman's band for Victor Records.
So whether it was that loophole or not, or maybe
Benny wanted to actually let Crouper reconstruct the group he
belonged to early in his career, which was Eddie Condon
and his Chicagoans, or maybe Benny perhaps was just giddy
(18:56):
he was recording in his hometown of Chicago at the time.
I don't know, but they played some wonderful music together.
So let's hear one more from Gene Krupa and his
Chicagoans from that Decca record four song session. The last
(21:48):
round up by Jeane Krupa and his Chicagoans from that
one time only November nineteenth, nineteen thirty five Decca session.
Fortunately I'm not here one time, but each and every
week on this radio station as I bring to you
the Make Believe Ballroom from my Crystal Studio. Now, Benny
(22:12):
Goodman as well as many other band leaders recorded using
pseudonyms from time to time, and as I mentioned, most
musicians like Goodman, big musicians were signed to exclusive deals
with the record label, say Columbia, RCAA, Victor or Decca.
(22:35):
Now that meant they legally could only record under their
own name for that company. But many musicians and band
leaders wanted some extra income as I just mentioned, or
even the labels themselves, The Columbias, the RCAA, Victors, and
(22:55):
Decca's wanted to churn out more records, so they'd cut
sides for smaller labels under fake names. I'm talking about
Crown Records, Banner Records, what's another one, Harmony Records, so
many of them now. While the major labels like Victor,
(23:17):
Columbia and Deca sold their records for around seventy five cents.
Their lesser labels could sell for a quarter or even
a dime. As a matter of fact, many of these
budget labels were called dime store records. Now, in the
Annals of band and band leader pseudonyms, the use of
(23:40):
other names for the purposes I just described, there was
one band leader who was the king of the pseudonym,
a serial band leader who had more names than I
could even count, And I'm going to tell you about
him in just a few minutes. Let me play a
record d where actually everyone who said they were indeed.
Speaker 11 (24:04):
Were Goness line, No pay Pa, don't be so fine,
goness frettional line, say man, did you finally arrive?
Speaker 12 (24:27):
He nothing to do with what the soul and soul
knock me, something goes ready to go. He'd nothing to
do with if the brands don't blow knock me, something
goes ready to go.
Speaker 13 (24:47):
Rip up megastic, majustic joy, knock me some of that
good fine heart, rip up gigs kjastic jar You don't
dunt dun't what you jump with joy Jo.
Speaker 12 (25:01):
That's really mellow alamos, not me. Something goes whey you
go becassic got got to me job, not me, something goes,
ready to go.
Speaker 10 (26:01):
Let's god, Juto go dojo.
Speaker 12 (26:03):
He ain't a lot to do it not the door
and so let's go Jojo.
Speaker 10 (26:09):
Not me nothing cause I'm ready to go. He Ju,
you ain't nothing doing it the brass don't blow.
Speaker 3 (26:17):
I think it's too ju.
Speaker 10 (26:19):
Do hand me something if you ain't. No, no, no, Rember.
Speaker 12 (26:24):
Megusting meaning me bye, you knocks me so and come
on Rember magunty dunkle joy, Oh you don't joy chol
not the mighty grooves on the albumo lest God do
not me nothing cause I'm.
Speaker 14 (26:45):
Ready do go.
Speaker 12 (26:47):
Migasics, MiG thaks, magot any far nothing, nothing because I'm
ready to go.
Speaker 6 (27:08):
Recorded in Los Angeles, California, on July the twenty seventh,
nineteen forty two, for OK Records, which was a subsidiary
of Columbia Records. We just heard Cab Callaway and his
orchestra with Let's go Joe, and now let's go to
(27:28):
the King of the alias the King of the Pseudonym.
Here are two records. Let me just look at the
dates here. One is from nineteen thirty other from thirty one.
But you're going to get more of that twenties flavor
from these two records than the dawn of swing sound
that was starting to develop in the early thirties. But nevertheless,
(27:53):
two very pleasant to listen to records.
Speaker 15 (28:32):
At Love, Free and Easy, Smell the floor with wax,
(29:11):
Let yourself free, lax, loose enough, you're a bax.
Speaker 11 (29:14):
Free and easy.
Speaker 15 (29:17):
Start out freezy, let your elbow say, let your tipsy
drag like your hat up jag pret and easy play men,
brave men one putting the grave me and grabs off apartment.
Speaker 3 (29:30):
Now, oh that's show girls.
Speaker 14 (29:32):
Low girls.
Speaker 10 (29:33):
Never had a poor girls.
Speaker 7 (29:34):
Here's your only chance?
Speaker 10 (29:35):
And how tall?
Speaker 15 (29:36):
And if you pleasy while the music lays you can
dance the days to the lazy gray and.
Speaker 3 (29:43):
Easy then other things.
Speaker 16 (30:30):
To think.
Speaker 3 (30:41):
Anything the.
Speaker 6 (31:01):
Song was written. It's kind of historic for Buster Keaton,
the Great comedian, in his movie Talkie's debut from Columbia Records,
The Free and Easy, performed by the Columbia Photo Player's Orchestra,
vocal by Eddie Walters, recorded in New York City March
(31:24):
the thirteenth, nineteen thirty one. More Then I'm going to
reveal the gentleman who was referred to by many as
the Dean of recorded music.
Speaker 16 (32:22):
What is it?
Speaker 10 (32:23):
What is it that makes me want you away that
I do?
Speaker 3 (32:29):
What is it?
Speaker 16 (32:31):
Please tell me?
Speaker 10 (32:32):
What is it that gives me a.
Speaker 9 (32:35):
Thrill like nothing else?
Speaker 14 (32:37):
Well? What is it?
Speaker 4 (32:40):
You're not as good looking as some of the.
Speaker 15 (32:44):
Rest, for you've got that something that I like the best?
Speaker 14 (32:50):
What is it?
Speaker 3 (32:51):
What is it?
Speaker 10 (32:52):
I'm dying to know why I love your soul?
Speaker 16 (32:57):
What is It?
Speaker 6 (33:19):
Ale from the budget label Harmony. This record, as a
(34:50):
matter of fact, was also issued on the Clarion and
Velvet Tone budget labels. Song titled what is It? By
Lloyd Keating and his Music vocal by Paul Small, recorded
in New York City, August twenty fifth, nineteen thirty one.
(35:11):
So who was behind the Columbia Photo Players Orchestra and
Lloyd Keating and his music, as well as Earl Marlow
and his orchestra, the Knickerbockers, Ray Seely and his orchestra,
the Gotham Troubadours, and literally dozens of others. Well, it
(35:32):
was actually one Ben Selvin, a violinist and bandleader who
on his own with his Ben Salvin orchestra led his
own popular band in the nineteen twenties into the early forties,
but through a series of aliases, Ben Salvin became one
of the most prolific band leaders of the late twenties
(35:56):
into the early forties, where he recorded under dozens of
alias's many that I just mentioned. Now this practice was
especially rampant on the dime store labels, which I discussed
earlier in regard to Gene Krupa and the Chicagoans. Now,
Ben was, without a doubt, through his aliases, the most
(36:20):
recorded band leader in history. It is said through the
twenties into the early forties, Ben Selvin Get this, ladies
and gentlemen, made over thirteen thousand recordings. That's in the
(36:40):
Guinness Book of World Records. Ben Selvin, the serial alias bandleader.
I'm Jeff Bresler and this is the Make Believe Ballroom
coming to you today from the Crystal Studio. Now here's
a record a World War Two morale that was recorded
(37:02):
as a V disc.
Speaker 5 (37:04):
What is a V disc? Well, I'll tell you in
a moment, they're.
Speaker 10 (37:36):
Gonna be when under regin to slay will be getting the.
Speaker 12 (37:51):
Time and when we list the job.
Speaker 10 (37:57):
Any black.
Speaker 11 (38:00):
Pe where the man can probably dance, will be dancing
the dry.
Speaker 13 (38:09):
And we will dance, dance, dance.
Speaker 10 (38:12):
The victory bocal Don joined the heavy.
Speaker 9 (38:19):
Ring sing sing the victory.
Speaker 10 (38:21):
Pocon recall.
Speaker 12 (38:36):
When there a group will be dancing the bay.
Speaker 6 (38:43):
Bob, you just heard Victory Polka Kate Kaiser and his
(39:07):
Orchestra recorded on V disc in nineteen forty four. So
what exactly was a V disc? During World War Two
when new commercial records were scarce, and I'm going to
explain that in a minute, the United States War Department, well,
they decided to create something special for the troops and
(39:30):
that was the V disc, which is short for Victory disc.
Between nineteen forty three and forty nine, the government teamed
up with the Musicians Union to make exclusive records for
soldiers overseas. Now, prior to the V discs, big band
(39:50):
records that were recorded by the major record labels were
shipped all over the European and Pacific theaters of war
for the troops to enjoy in a variety of spots,
ranging from all the way up in officers clubs to
barracks really in many instances, right out close to the
(40:13):
battlefield itself, wherever they could produce a record and a
record player. So while World War two was raging back home,
the devastating musician strike of nineteen forty two began. The
American Federation of Musicians. They began to strike, and we've
discussed it many times here on the ballroom. They began
(40:37):
to strike against the major American record companies because of
disagreements over royalty payments. So beginning on July thirty first,
nineteen forty two, no Union musician could make commercial recordings
for any commercial record company, and that meant that a
(40:58):
Union musician would allowed to participate only on radio programs
and other kinds of musical entertainment, but not in a
recording session. And that horrible strike lasted until nineteen forty four.
Many people say that was the major reason for the
(41:19):
downfall of the big band era. But going back to
the v discs, as I mentioned, due to the huge
morale benefit of playing music to the troops during the war,
the War Department worked out their arrangement with the Union
to continue to provide music to the troops, and that
(41:40):
resulted in record discs V discs carrying the biggest names
of the era. Glenn Millar Duke Ellington, Count Basie, Frank Sinatra,
Elip Fitzgerald, Ardi Shaw, all the giants, the Dorseys, all
a giants of the time, all performing fresh version of
(42:00):
their hits, often with a few personal words to quote
unquote you know the boys overseas. Now, the deal that
the government worked out with the musicians' union was quite simple.
No money changed hands, there were no sales. They just
(42:21):
provided the records for morale. And when the war ended,
the discs by the Department of War were ordered destroyed,
but obviously many survived in collectors' hands. We just heard
one a few moments ago, and I would assume that
(42:41):
many soldiers brought V discs back home to the States
as souvenirs.
Speaker 5 (42:48):
So let's play a few more. Let me choose this one.
Speaker 6 (42:53):
Here's Duke Ellington and his orchestra on V disc just
for the troops, with a song titled are You Stick It?
Speaker 10 (44:01):
By Evening.
Speaker 11 (45:04):
King A.
Speaker 6 (46:05):
Duke Ellington v desk. Let me play another one. Why
don't we go for something a little different.
Speaker 5 (46:18):
Let me play this one.
Speaker 14 (46:25):
I'm always doing something something, All the boys, they are
always doing something or ana.
Speaker 11 (46:41):
To their joy.
Speaker 14 (46:44):
So don't tell me it's a wrong thing if I'm
out with them nicely two three part always doing something
for the boys, or they're doing something for me. Hey,
(47:06):
good looking, say what's cooking? Do you see you like
cooking someone?
Speaker 16 (47:12):
Then?
Speaker 14 (47:14):
Hey, hey, hey, hey looking, if you're not already talking,
could you meet me soon in the moon. Why don't
we to go roman thro the gloaming while the stars
are calling the skies of bar Hey, good looking, give
(47:37):
in and wield again cooking that delicious little dish cord line.
So don't tell me.
Speaker 10 (47:52):
It's a wrong thing.
Speaker 14 (47:56):
If I am with them two three.
Speaker 1 (48:07):
Always doing something for the.
Speaker 14 (48:19):
Always doing something for me.
Speaker 6 (48:25):
I was Red Norvo and his orchestra with a Carol
Bruce vocal and a song titled Something for the Boys,
recorded on V disc in nineteen forty three.
Speaker 5 (48:39):
Let's see here.
Speaker 6 (48:40):
You know, I'd like to play a few more, but
I'm checking the clock, and I have another order of
business to attend to on the program. So I think
over several weeks, several weeks to come, we can sprinkle
in a few more V discs. And some of the
concert V discs that all so went out to the
(49:00):
troops in theater that were recorded at military bases in
the US. So I received an email from a listener
with a request that I must honor on this program.
And I'm going to read that email.
Speaker 16 (49:15):
To you now.
Speaker 6 (49:17):
It says, Jeff, I'm an avid listener to the Make
Believe Ballroom. I first heard the show back in the
early nineteen seventies when I worked during the summer for
my grandfather, Ernest Kemper, who owned a travel agency on
Fifth Avenue in New York City. I booked tickets with
(49:38):
the airlines for his customers in the back office as
a summer job. My grandfather Ernie always had the radio
set in the back office to WNW, where the Make
Believe Ballroom came from. Next week, Well this is it's
actually this email is meaning this week. Next week will
(50:02):
commemorate the thirtieth anniversary of his death. Can you play
a Glenn Miller song in his memory? He loved Glenn Miller.
He had an extensive collection of his records, but he
also loved the songs played on the Ballroom in the
nineteen seventies, from Sinatra Tourmee, Steve Venedi, to Tony Bennett
(50:26):
and many more. Thanks in advance for giving me the
chance to commemorate his passing on a program he so
much enjoyed, and that is signed Lenny Lewis. Not only
can I play a Miller's song for you, Lenny, in
honor of your grandfather, but one that is specific, believe
(50:48):
it or not, to Fifth Avenue where he ran his business.
Speaker 17 (51:51):
Hop a buns, take a car, hail a cabin. There
you are on this avenue. Every Joe, every jane walks
along the dreamer's lane on Fifth Avenue.
Speaker 7 (52:15):
Where they stop.
Speaker 14 (52:16):
Windows shot and their hopes are so high.
Speaker 17 (52:20):
Pricing range pretty things.
Speaker 16 (52:24):
That they can afford to buy, but they smile, they
don't care.
Speaker 17 (52:30):
Everyone's a millionaires when they're.
Speaker 16 (52:33):
Strolling on Fifth Avebun, Hello, their ticks of the old
(52:56):
count hands.
Speaker 14 (52:56):
But you want shopping on Fifth Avenue?
Speaker 8 (52:58):
Man, Why I'm shopping for shafts. Sunday bear got mushed.
I tried to bust the Bronco, but the bronc wouldn't bust.
Speaker 16 (53:05):
Do you ride that wild bony at the rodeo?
Speaker 8 (53:08):
No? I ride that wild tender in the Wild West show.
We got a cowboy band that comes on you love it?
Speaker 16 (53:14):
Welcome on, man, Let me here a little love It.
Speaker 6 (53:53):
Recorded on August the fourteenth, nineteen forty in New York City,
Fifth Avenue, Glenn Miller and his orchestra, vocal by Marion Hutton,
with little chat at the end with tex Beneke. My pleasure,
Lenny Lewis, to play that record to commemorate the anniversary
(54:13):
of the passing of your late grandfather, Ernest Kemper. To
reach me like Lenny did with your comments, requests or dedications,
to shoot me an email to Jeff at Makebelly Ballroomradio
dot com. That's Jeff at Makebully Ballroom Radio dot com.
I think, looking at the clock now, the big bull
(54:37):
of a clock here on the wall in the Crystal studio,
I think we have time for one more record, so
why not play another one about a famed New York
City street.
Speaker 16 (55:43):
I'm in me.
Speaker 4 (55:44):
I was dancing Fee.
Speaker 9 (55:47):
On the Avenue.
Speaker 4 (55:48):
I'm taking you to what his Second Street together be.
I'm dancing Fee.
Speaker 10 (55:56):
And it's a song.
Speaker 4 (55:57):
I love the melody of what is Second Street? The
dull NITTI is from the fifties and a sudden sweet
sexy ladies from the eighties who are in the street
side by side, glorified.
Speaker 1 (56:13):
By the underworld can.
Speaker 4 (56:15):
Meet the nodding, spotting God is spotting bot this Second Street.
Speaker 6 (57:00):
On Brunswick Records. We just heard forty Second Street by
Hal Kemp and his Orchestra with vocal by Skinny Ennis,
recorded not New York City, but in this case Chicago
on December seventh, nineteen thirty two.
Speaker 5 (57:17):
Folks.
Speaker 6 (57:18):
It's time for me now to head out into the
street because we are out of time and I will
shortly be evicted from the Crystal Studio. It was truly
a pleasure having you join me for today's broadcast. To
reach me, I'm Jeff at Make Believe Ballroomradio dot com.
That's Jeff at MakeBelieve Ballroom Radio dot com. And to
(57:42):
hear over two hundred past programs in the Make Believe
Ballroom series. Just go to Make Believe Ballroom dot com.
Let's MakeBelieve Ballroom dot com. So until next week, this
has been Jeff Bresler
Time.
Speaker 2 (00:13):
It's make Believe ballroom time. Put all your cares away.
All the bands are here to bring good cheer your way.
It's make Believe ballroom time and free to everyone. It's
(00:34):
no time to friend your Dalis.
Speaker 3 (00:36):
Said Bob yours.
Speaker 2 (00:41):
Close your eyes and visualize in your solitude your favorite
bands are on this dance and mister Miller, what you're
in the mood.
Speaker 4 (00:53):
It's make Believe ballroom time.
Speaker 3 (00:56):
We are a sweet romance as you make it, Bob,
Come on, John Last Das.
Speaker 5 (01:05):
Last, Hello World.
Speaker 6 (01:08):
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 big band jazz, swing, blues, and boogie
(01:28):
woogie favorites. Folks, you're listening to the Make Believe Ballroom,
broadcasting almost continuously since nineteen thirty five. Hi, folks, once again,
thanks for joining me today in the Crystal Studio. How
about I start today's program with a little history lesson.
Speaker 1 (02:05):
In Louiiana. Purchase I'll tell you what it means it means,
(02:39):
I'd like to sell you New Orleans. Common Comana. You
all can go to Hinde way down in New Orleans.
(03:10):
Louiseaiana salesman with nothing in his genes, That's why I'd
like to sell.
Speaker 5 (03:20):
You New Orleans.
Speaker 7 (03:22):
Come on, come on and do all the things there
are to do in New Orleans.
Speaker 1 (03:43):
Where does that he come from? That rhythmic bed come from?
Speaker 8 (03:50):
And that read me.
Speaker 1 (03:52):
Come from New Orleans? Yes, sir, Louiseasiena perts, Yes.
Speaker 3 (04:01):
I told you what it means.
Speaker 1 (04:05):
So won't you let me sell you New Orleans? Come on,
come on, and you all can go to town way
down in New Orleans. Louisiana Purchase. I told you what
(04:51):
it means, so won't you let me sell you New All?
Speaker 6 (05:14):
That was the Irving Berlin penned title song from his
Broadway musical of the same name, Louisiana Purchase Here performed
by Ray Noble and his orchestra, vocal by Don Bonnie,
recorded in New York City, made the twenty first nineteen forty.
(05:36):
The eighteen three Louisiana Purchase, which in essence just about
doubled the size of the United States. Since we are
on the topic of history. Why don't I continue this
makeshift history lesson with this one about a historic ocean
(05:58):
faring figure.
Speaker 9 (06:09):
Mister Christopher Columber sailor see without the Coming When he
men began.
Speaker 10 (06:21):
A rubber.
Speaker 9 (06:24):
Osbald Christopher Columber. Mister Christopher Columba, he used rhythm as
(07:34):
his comfort music ended all the lumber wise old Christopher.
Speaker 6 (07:44):
Columbia recorded in New York City on February the twenty eighth,
(08:50):
nineteen thirty six for Regal Zonophone Records. Louis King Garcia
and his swing band with their full rendition of Christopher
Columbus and an amazing band Louis King Garcia put together.
He was playing the trumpet, Maurice Samuel on the trombone,
(09:12):
the legendary Joe Marsala playing the clarinet, herbiehemer Tenor Sachs
Adrian Rolini the master on the piano, the guitar standout
Carmen Mastron, Sid Weiss string bass played for Benny Goodman,
and did Dan Darcy on the drums and providing the vocal.
Speaker 2 (09:36):
Now.
Speaker 6 (09:37):
Louis Garcia, if you don't know much about him, was
a Puerto Rican born trumpet player. He had a stellar resume.
He moved to the US from Puerto Rico early in
the nineteen twenties, where he Louis Garcia played with the
original Dixieland Jazz Band. In the thirties, he worked mostly
(09:59):
as a sideman in recording studios, where he played frequently
for both Jimmy and Tommy Dorsey. He also played with
Vic Burton, Richard Himber, Richard Himber we covered on the
program Not Too Long Ago, Net brand Wine, and Louis Prima.
(10:22):
Now Louis Garcia occasionally put together a small band, and
he cut some records like Christopher Columbus, Let me play
one More by King Garcia.
Speaker 9 (11:20):
Swing mister Charlie, Full swing, mister Charlie. I don't care
what you just make it a hot to lay bar
or two of a theme les Tho. Every note you
hit is hotter than anything I've heard since the swing began.
(11:40):
All swing, mister Charlie, All swing, mister Charlie. No bum
can't swing it like I can't get enough of the
swingable stuff. Wall Swing to Charlie, Just winging.
Speaker 6 (13:20):
On Bluebird Records from nineteen thirty six, King Louis Garcia
and his Orchestra with swing mister Charlie vocal by Dan Darcy.
I'm not Charlie, but rather Jeff Bresler and friends. You're
listening to the one, the only, the original Make Believe Ballroom,
(13:41):
where it was just my pleasure to introduce you to
King Garcia, whose music I don't think I ever played
on the Make Believe Ballroom, and I don't think I
ever played music by this quote unquote little known group.
The record might be a little scratchy, but the music
(14:02):
ain't from Decca Records. Three Little Words by the Chicagoans,
(16:49):
recorded in Chicago, Illinois, November the nineteenth, nineteen thirty five.
Oh I neglected to mention one thing. The full name
of the group was actually Gene Crooper and his Chicagoans.
Now you might be saying, wait a minute, Jeff wasn't
Crouper playing drums for Benny Goodman in nineteen thirty five.
(17:12):
And the answer to that question is yes. You might
follow that one up with, well, wait a minute, Jeff,
the piano player on that record sounded like Jess Stacey,
who also played for Benny Goodman. Excellent observation, and the
answer to that question is also yes. And a final
(17:34):
question you may be asking is wait a minute, Jeff,
that clarinet has sounded unmistakably just like Benny Goodman. Well,
good reason to believe that, because it was indeed Benny Goodman. Now,
while Benny was under contract to Victor Records at the time,
for whatever reason, and if you know, please email me
(17:57):
at Jeff at make Bully Ballroom Radio die. For whatever reason,
he asked Croupa to front this group, Jin Croupa and
the Chicagoans. My best guess is that it was well
it was.
Speaker 5 (18:10):
It was pretty.
Speaker 6 (18:11):
Common for musicians in the nineteen thirties to record for
different labels under alternate group names. They did this to
get around exclusive contract restrictions, sometimes to make a little
extra money. Now, at the time, Croupa was also under
(18:32):
an exclusive contract with Benny Goodman's band for Victor Records.
So whether it was that loophole or not, or maybe
Benny wanted to actually let Crouper reconstruct the group he
belonged to early in his career, which was Eddie Condon
and his Chicagoans, or maybe Benny perhaps was just giddy
(18:56):
he was recording in his hometown of Chicago at the time.
I don't know, but they played some wonderful music together.
So let's hear one more from Gene Krupa and his
Chicagoans from that Decca record four song session. The last
(21:48):
round up by Jeane Krupa and his Chicagoans from that
one time only November nineteenth, nineteen thirty five Decca session.
Fortunately I'm not here one time, but each and every
week on this radio station as I bring to you
the Make Believe Ballroom from my Crystal Studio. Now, Benny
(22:12):
Goodman as well as many other band leaders recorded using
pseudonyms from time to time, and as I mentioned, most
musicians like Goodman, big musicians were signed to exclusive deals
with the record label, say Columbia, RCAA, Victor or Decca.
(22:35):
Now that meant they legally could only record under their
own name for that company. But many musicians and band
leaders wanted some extra income as I just mentioned, or
even the labels themselves, The Columbias, the RCAA, Victors, and
(22:55):
Decca's wanted to churn out more records, so they'd cut
sides for smaller labels under fake names. I'm talking about
Crown Records, Banner Records, what's another one, Harmony Records, so
many of them now. While the major labels like Victor,
(23:17):
Columbia and Deca sold their records for around seventy five cents.
Their lesser labels could sell for a quarter or even
a dime. As a matter of fact, many of these
budget labels were called dime store records. Now, in the
Annals of band and band leader pseudonyms, the use of
(23:40):
other names for the purposes I just described, there was
one band leader who was the king of the pseudonym,
a serial band leader who had more names than I
could even count, And I'm going to tell you about
him in just a few minutes. Let me play a
record d where actually everyone who said they were indeed.
Speaker 11 (24:04):
Were Goness line, No pay Pa, don't be so fine,
goness frettional line, say man, did you finally arrive?
Speaker 12 (24:27):
He nothing to do with what the soul and soul
knock me, something goes ready to go. He'd nothing to
do with if the brands don't blow knock me, something
goes ready to go.
Speaker 13 (24:47):
Rip up megastic, majustic joy, knock me some of that
good fine heart, rip up gigs kjastic jar You don't
dunt dun't what you jump with joy Jo.
Speaker 12 (25:01):
That's really mellow alamos, not me. Something goes whey you
go becassic got got to me job, not me, something goes,
ready to go.
Speaker 10 (26:01):
Let's god, Juto go dojo.
Speaker 12 (26:03):
He ain't a lot to do it not the door
and so let's go Jojo.
Speaker 10 (26:09):
Not me nothing cause I'm ready to go. He Ju,
you ain't nothing doing it the brass don't blow.
Speaker 3 (26:17):
I think it's too ju.
Speaker 10 (26:19):
Do hand me something if you ain't. No, no, no, Rember.
Speaker 12 (26:24):
Megusting meaning me bye, you knocks me so and come
on Rember magunty dunkle joy, Oh you don't joy chol
not the mighty grooves on the albumo lest God do
not me nothing cause I'm.
Speaker 14 (26:45):
Ready do go.
Speaker 12 (26:47):
Migasics, MiG thaks, magot any far nothing, nothing because I'm
ready to go.
Speaker 6 (27:08):
Recorded in Los Angeles, California, on July the twenty seventh,
nineteen forty two, for OK Records, which was a subsidiary
of Columbia Records. We just heard Cab Callaway and his
orchestra with Let's go Joe, and now let's go to
(27:28):
the King of the alias the King of the Pseudonym.
Here are two records. Let me just look at the
dates here. One is from nineteen thirty other from thirty one.
But you're going to get more of that twenties flavor
from these two records than the dawn of swing sound
that was starting to develop in the early thirties. But nevertheless,
(27:53):
two very pleasant to listen to records.
Speaker 15 (28:32):
At Love, Free and Easy, Smell the floor with wax,
(29:11):
Let yourself free, lax, loose enough, you're a bax.
Speaker 11 (29:14):
Free and easy.
Speaker 15 (29:17):
Start out freezy, let your elbow say, let your tipsy
drag like your hat up jag pret and easy play men,
brave men one putting the grave me and grabs off apartment.
Speaker 3 (29:30):
Now, oh that's show girls.
Speaker 14 (29:32):
Low girls.
Speaker 10 (29:33):
Never had a poor girls.
Speaker 7 (29:34):
Here's your only chance?
Speaker 10 (29:35):
And how tall?
Speaker 15 (29:36):
And if you pleasy while the music lays you can
dance the days to the lazy gray and.
Speaker 3 (29:43):
Easy then other things.
Speaker 16 (30:30):
To think.
Speaker 3 (30:41):
Anything the.
Speaker 6 (31:01):
Song was written. It's kind of historic for Buster Keaton,
the Great comedian, in his movie Talkie's debut from Columbia Records,
The Free and Easy, performed by the Columbia Photo Player's Orchestra,
vocal by Eddie Walters, recorded in New York City March
(31:24):
the thirteenth, nineteen thirty one. More Then I'm going to
reveal the gentleman who was referred to by many as
the Dean of recorded music.
Speaker 16 (32:22):
What is it?
Speaker 10 (32:23):
What is it that makes me want you away that
I do?
Speaker 3 (32:29):
What is it?
Speaker 16 (32:31):
Please tell me?
Speaker 10 (32:32):
What is it that gives me a.
Speaker 9 (32:35):
Thrill like nothing else?
Speaker 14 (32:37):
Well? What is it?
Speaker 4 (32:40):
You're not as good looking as some of the.
Speaker 15 (32:44):
Rest, for you've got that something that I like the best?
Speaker 14 (32:50):
What is it?
Speaker 3 (32:51):
What is it?
Speaker 10 (32:52):
I'm dying to know why I love your soul?
Speaker 16 (32:57):
What is It?
Speaker 6 (33:19):
Ale from the budget label Harmony. This record, as a
(34:50):
matter of fact, was also issued on the Clarion and
Velvet Tone budget labels. Song titled what is It? By
Lloyd Keating and his Music vocal by Paul Small, recorded
in New York City, August twenty fifth, nineteen thirty one.
(35:11):
So who was behind the Columbia Photo Players Orchestra and
Lloyd Keating and his music, as well as Earl Marlow
and his orchestra, the Knickerbockers, Ray Seely and his orchestra,
the Gotham Troubadours, and literally dozens of others. Well, it
(35:32):
was actually one Ben Selvin, a violinist and bandleader who
on his own with his Ben Salvin orchestra led his
own popular band in the nineteen twenties into the early forties,
but through a series of aliases, Ben Salvin became one
of the most prolific band leaders of the late twenties
(35:56):
into the early forties, where he recorded under dozens of
alias's many that I just mentioned. Now this practice was
especially rampant on the dime store labels, which I discussed
earlier in regard to Gene Krupa and the Chicagoans. Now,
Ben was, without a doubt, through his aliases, the most
(36:20):
recorded band leader in history. It is said through the
twenties into the early forties, Ben Selvin Get this, ladies
and gentlemen, made over thirteen thousand recordings. That's in the
(36:40):
Guinness Book of World Records. Ben Selvin, the serial alias bandleader.
I'm Jeff Bresler and this is the Make Believe Ballroom
coming to you today from the Crystal Studio. Now here's
a record a World War Two morale that was recorded
(37:02):
as a V disc.
Speaker 5 (37:04):
What is a V disc? Well, I'll tell you in
a moment, they're.
Speaker 10 (37:36):
Gonna be when under regin to slay will be getting the.
Speaker 12 (37:51):
Time and when we list the job.
Speaker 10 (37:57):
Any black.
Speaker 11 (38:00):
Pe where the man can probably dance, will be dancing
the dry.
Speaker 13 (38:09):
And we will dance, dance, dance.
Speaker 10 (38:12):
The victory bocal Don joined the heavy.
Speaker 9 (38:19):
Ring sing sing the victory.
Speaker 10 (38:21):
Pocon recall.
Speaker 12 (38:36):
When there a group will be dancing the bay.
Speaker 6 (38:43):
Bob, you just heard Victory Polka Kate Kaiser and his
(39:07):
Orchestra recorded on V disc in nineteen forty four. So
what exactly was a V disc? During World War Two
when new commercial records were scarce, and I'm going to
explain that in a minute, the United States War Department, well,
they decided to create something special for the troops and
(39:30):
that was the V disc, which is short for Victory disc.
Between nineteen forty three and forty nine, the government teamed
up with the Musicians Union to make exclusive records for
soldiers overseas. Now, prior to the V discs, big band
(39:50):
records that were recorded by the major record labels were
shipped all over the European and Pacific theaters of war
for the troops to enjoy in a variety of spots,
ranging from all the way up in officers clubs to
barracks really in many instances, right out close to the
(40:13):
battlefield itself, wherever they could produce a record and a
record player. So while World War two was raging back home,
the devastating musician strike of nineteen forty two began. The
American Federation of Musicians. They began to strike, and we've
discussed it many times here on the ballroom. They began
(40:37):
to strike against the major American record companies because of
disagreements over royalty payments. So beginning on July thirty first,
nineteen forty two, no Union musician could make commercial recordings
for any commercial record company, and that meant that a
(40:58):
Union musician would allowed to participate only on radio programs
and other kinds of musical entertainment, but not in a
recording session. And that horrible strike lasted until nineteen forty four.
Many people say that was the major reason for the
(41:19):
downfall of the big band era. But going back to
the v discs, as I mentioned, due to the huge
morale benefit of playing music to the troops during the war,
the War Department worked out their arrangement with the Union
to continue to provide music to the troops, and that
(41:40):
resulted in record discs V discs carrying the biggest names
of the era. Glenn Millar Duke Ellington, Count Basie, Frank Sinatra,
Elip Fitzgerald, Ardi Shaw, all the giants, the Dorseys, all
a giants of the time, all performing fresh version of
(42:00):
their hits, often with a few personal words to quote
unquote you know the boys overseas. Now, the deal that
the government worked out with the musicians' union was quite simple.
No money changed hands, there were no sales. They just
(42:21):
provided the records for morale. And when the war ended,
the discs by the Department of War were ordered destroyed,
but obviously many survived in collectors' hands. We just heard
one a few moments ago, and I would assume that
(42:41):
many soldiers brought V discs back home to the States
as souvenirs.
Speaker 5 (42:48):
So let's play a few more. Let me choose this one.
Speaker 6 (42:53):
Here's Duke Ellington and his orchestra on V disc just
for the troops, with a song titled are You Stick It?
Speaker 10 (44:01):
By Evening.
Speaker 11 (45:04):
King A.
Speaker 6 (46:05):
Duke Ellington v desk. Let me play another one. Why
don't we go for something a little different.
Speaker 5 (46:18):
Let me play this one.
Speaker 14 (46:25):
I'm always doing something something, All the boys, they are
always doing something or ana.
Speaker 11 (46:41):
To their joy.
Speaker 14 (46:44):
So don't tell me it's a wrong thing if I'm
out with them nicely two three part always doing something
for the boys, or they're doing something for me. Hey,
(47:06):
good looking, say what's cooking? Do you see you like
cooking someone?
Speaker 16 (47:12):
Then?
Speaker 14 (47:14):
Hey, hey, hey, hey looking, if you're not already talking,
could you meet me soon in the moon. Why don't
we to go roman thro the gloaming while the stars
are calling the skies of bar Hey, good looking, give
(47:37):
in and wield again cooking that delicious little dish cord line.
So don't tell me.
Speaker 10 (47:52):
It's a wrong thing.
Speaker 14 (47:56):
If I am with them two three.
Speaker 1 (48:07):
Always doing something for the.
Speaker 14 (48:19):
Always doing something for me.
Speaker 6 (48:25):
I was Red Norvo and his orchestra with a Carol
Bruce vocal and a song titled Something for the Boys,
recorded on V disc in nineteen forty three.
Speaker 5 (48:39):
Let's see here.
Speaker 6 (48:40):
You know, I'd like to play a few more, but
I'm checking the clock, and I have another order of
business to attend to on the program. So I think
over several weeks, several weeks to come, we can sprinkle
in a few more V discs. And some of the
concert V discs that all so went out to the
(49:00):
troops in theater that were recorded at military bases in
the US. So I received an email from a listener
with a request that I must honor on this program.
And I'm going to read that email.
Speaker 16 (49:15):
To you now.
Speaker 6 (49:17):
It says, Jeff, I'm an avid listener to the Make
Believe Ballroom. I first heard the show back in the
early nineteen seventies when I worked during the summer for
my grandfather, Ernest Kemper, who owned a travel agency on
Fifth Avenue in New York City. I booked tickets with
(49:38):
the airlines for his customers in the back office as
a summer job. My grandfather Ernie always had the radio
set in the back office to WNW, where the Make
Believe Ballroom came from. Next week, Well this is it's
actually this email is meaning this week. Next week will
(50:02):
commemorate the thirtieth anniversary of his death. Can you play
a Glenn Miller song in his memory? He loved Glenn Miller.
He had an extensive collection of his records, but he
also loved the songs played on the Ballroom in the
nineteen seventies, from Sinatra Tourmee, Steve Venedi, to Tony Bennett
(50:26):
and many more. Thanks in advance for giving me the
chance to commemorate his passing on a program he so
much enjoyed, and that is signed Lenny Lewis. Not only
can I play a Miller's song for you, Lenny, in
honor of your grandfather, but one that is specific, believe
(50:48):
it or not, to Fifth Avenue where he ran his business.
Speaker 17 (51:51):
Hop a buns, take a car, hail a cabin. There
you are on this avenue. Every Joe, every jane walks
along the dreamer's lane on Fifth Avenue.
Speaker 7 (52:15):
Where they stop.
Speaker 14 (52:16):
Windows shot and their hopes are so high.
Speaker 17 (52:20):
Pricing range pretty things.
Speaker 16 (52:24):
That they can afford to buy, but they smile, they
don't care.
Speaker 17 (52:30):
Everyone's a millionaires when they're.
Speaker 16 (52:33):
Strolling on Fifth Avebun, Hello, their ticks of the old
(52:56):
count hands.
Speaker 14 (52:56):
But you want shopping on Fifth Avenue?
Speaker 8 (52:58):
Man, Why I'm shopping for shafts. Sunday bear got mushed.
I tried to bust the Bronco, but the bronc wouldn't bust.
Speaker 16 (53:05):
Do you ride that wild bony at the rodeo?
Speaker 8 (53:08):
No? I ride that wild tender in the Wild West show.
We got a cowboy band that comes on you love it?
Speaker 16 (53:14):
Welcome on, man, Let me here a little love It.
Speaker 6 (53:53):
Recorded on August the fourteenth, nineteen forty in New York City,
Fifth Avenue, Glenn Miller and his orchestra, vocal by Marion Hutton,
with little chat at the end with tex Beneke. My pleasure,
Lenny Lewis, to play that record to commemorate the anniversary
(54:13):
of the passing of your late grandfather, Ernest Kemper. To
reach me like Lenny did with your comments, requests or dedications,
to shoot me an email to Jeff at Makebelly Ballroomradio
dot com. That's Jeff at Makebully Ballroom Radio dot com.
I think, looking at the clock now, the big bull
(54:37):
of a clock here on the wall in the Crystal studio,
I think we have time for one more record, so
why not play another one about a famed New York
City street.
Speaker 16 (55:43):
I'm in me.
Speaker 4 (55:44):
I was dancing Fee.
Speaker 9 (55:47):
On the Avenue.
Speaker 4 (55:48):
I'm taking you to what his Second Street together be.
I'm dancing Fee.
Speaker 10 (55:56):
And it's a song.
Speaker 4 (55:57):
I love the melody of what is Second Street? The
dull NITTI is from the fifties and a sudden sweet
sexy ladies from the eighties who are in the street
side by side, glorified.
Speaker 1 (56:13):
By the underworld can.
Speaker 4 (56:15):
Meet the nodding, spotting God is spotting bot this Second Street.
Speaker 6 (57:00):
On Brunswick Records. We just heard forty Second Street by
Hal Kemp and his Orchestra with vocal by Skinny Ennis,
recorded not New York City, but in this case Chicago
on December seventh, nineteen thirty two.
Speaker 5 (57:17):
Folks.
Speaker 6 (57:18):
It's time for me now to head out into the
street because we are out of time and I will
shortly be evicted from the Crystal Studio. It was truly
a pleasure having you join me for today's broadcast. To
reach me, I'm Jeff at Make Believe Ballroomradio dot com.
That's Jeff at MakeBelieve Ballroom Radio dot com. And to
(57:42):
hear over two hundred past programs in the Make Believe
Ballroom series. Just go to Make Believe Ballroom dot com.
Let's MakeBelieve Ballroom dot com. So until next week, this
has been Jeff Bresler
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