November 14, 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 historic jam session, a listener's request results in a segment about records and artists rarely played on the Ballroom, a special feature playing songs from the Ralphie from Canarsie Record Club list- plus many more great records and stories to cherish and enjoy on this week's broadcast.
On this week's program: a historic jam session, a listener's request results in a segment about records and artists rarely played on the Ballroom, a special feature playing songs from the Ralphie from Canarsie Record Club list- 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 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 said Bob.
Speaker 2 (00:40):
Yours.
Speaker 1 (00:40):
Close your eyes and visualize in your solitude.
Speaker 2 (00:47):
Your favorite bands.
Speaker 3 (00:48):
Are on the stands, and mister Miller, what you in
the mood?
Speaker 1 (00:52):
It's make Believe ballroom time. We are a sweet romance
as you make believe bottom.
Speaker 4 (01:02):
Come on jo the.
Speaker 5 (01:03):
Last dass last.
Speaker 6 (01:06):
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 big band jazz, swing, blues,
(01:28):
and boogie woogie favorites. Folks, you're listening to the Make
Believe Ballroom, broadcasting almost continuously since nineteen thirty five. And
hi again, folks, thanks for joining me today in the
Crystal studio. I was looking through and listening to some records.
(01:49):
I think it was yes it was yesterday, and I
came across one that I'm going to play for you now. Actually,
I'm going to play both the A and B side.
You know, I like records with great stories, and this
record will not disappoint. So here is the A side.
Speaker 7 (03:00):
I think as there nothing that.
Speaker 6 (05:10):
Recorded on March the thirty first, nineteen thirty seven, at
Victor's Studio two in New York City, the great Fats
Waller tune Honeysuckle Rose, with the Victor label calling the
record quote unquote, a jam session at Victor. And here
(05:31):
is the back end story to how the recording came
about and why it was called the jam Session at Victor.
It was actually arranged somewhat spontaneously by Victor's recording director
at the time, the notorious Eli Oberstein, who we've discussed
on the program in the past. I call him notorious
(05:53):
because he did many things that were very positive for
the recording industry and also got involved in some shady
dealings with minor labels along the way. But nevertheless, Eli
realized that several of Victor's jazz artists that were under
(06:14):
contract were all in New York City at the same time,
so he decided to put together a recording session. Because
there was little planning, if any in advance, there was
no prepared charts, and due to other recording and performance
schedules for the musicians, it was reported there was very
(06:38):
little or no rehearsal at all. So the musicians, who
I will name in a moment elected to play two standards,
Honeysuckle Rose that we Just heard and the song titled Blues.
The playing, as you heard was fully improvised, and I
think that is why Victor decided to sell the record
(07:01):
as a jam session at Victor for the title on
the label, the guys we just heard jamming Honeysuckle Rose
were and poetic justice. Here Fats Waller with the piano,
Tommy Dorsey trombone, Bunny Berrigan the trumpet, Dick McDonough the guitar,
(07:21):
and George Wettling playing the drums. A stellar cast of
legends from the era. Now, when the record was released,
this spontaneous session, created totally by chance as all these
greats were in the Victor studio at the same time,
became very, very successful, reaching number four on the charts.
(07:46):
Let's listen now that you know who the musicians were.
To the B side of that record, Station.
Speaker 2 (08:32):
A love.
Speaker 6 (09:18):
Of Fats Waller, Tommy Dorsey, Bunny Berrigan, Dick McDonough, and
(10:52):
George wet Land, sides A and B from the Victor's
seventy eight RPM record A Jam Session at Victor. This
is by chance record I told you about actually went
on to be considered a historic recording and was reissued
(11:12):
many times over the decades. As a matter of fact,
the Smithsonian's National Museum of American History has the original
seventy eight rpm Shalac disc in its collection. I'm neither
historic or have any place of prominence in the Smithsonian,
(11:34):
but I am Jeff Presler and this is the Make
Believe Ballroom. Let me now play for you another record
that's also in the Smithsonians National Museum of American History
seventy eight RPM collection. Then after the record a listener's email.
Speaker 5 (12:10):
Previous Dass singing, and then.
Speaker 6 (14:28):
Recorded for Victor Records on January the twenty eighth, nineteen
thirty three, Swing You Cats Louis Armstrong and his orchestra
Eli Oberstein. By the way, he was also involved in
this one, and for whatever reason, he withheld Swing Your
(14:50):
Cats initially, but then finally released the record one year
later in February of nineteen thirty four on Victor there's
a budget label Bluebird Records, but the recording it finally
got it suggested sales wise and historically when it was
re released by Bluebird again in nineteen thirty nine. I'm
(15:13):
Jeff Bresler and you're listening to the one, the only,
the original Make Believe Ballroom. And somebody else who has
been listening is one Ben Chadwick, one of our across
the Pond listeners who enjoys the program on Akasha Radio
in Nottinghamshire in England. They a longstanding affiliate of the
(15:37):
Make Believe Ballroom and so deeply appreciated that they play
our program each week. So Ben wrote to me, Dear Jeff,
I'm a longtime listener to your fine program. Can you
play one of your sessions featuring artists rarely heard from?
And that signed Ben? And yes, Ben, we can do
(15:59):
that for you. I haven't just thinking no, I haven't
presented a segment in a while of records featuring band
leaders rarely heard not only on the Ballroom but in
many cases on records in general. I always enjoy doing
these segments and this should be fun. And since you
(16:19):
are in the UK, I will throw in a British musician.
So without further ado, Oh yes, but first before no
further ado, if you'd like to reach me like bendtt,
I'm Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff
at MakeBelieve Ballroom Radio dot com. So now let's spend
(16:43):
the first record to hear a band rarely heard on
this program.
Speaker 8 (17:02):
Now, honey, heir of lady, I can't get a day.
Speaker 4 (17:06):
You give me the game.
Speaker 3 (17:08):
What's cooking?
Speaker 9 (17:10):
Now?
Speaker 8 (17:10):
Up till recently, we'd always agree, and don't mean what's cooking?
Speaker 3 (17:17):
What you're doing?
Speaker 4 (17:18):
Now you're sting?
Speaker 3 (17:19):
Now a big surprise, something's brewing.
Speaker 4 (17:22):
I can play.
Speaker 3 (17:23):
Let's see it in your rise? Is there someone new
on your love?
Speaker 10 (17:28):
And you tell me, baby?
Speaker 3 (17:30):
Do what's cooking?
Speaker 11 (18:27):
Now?
Speaker 8 (18:34):
Un Here, ladies, I can't get a day cause you
give me the game.
Speaker 3 (18:39):
Say what's cooking?
Speaker 4 (18:40):
Huh?
Speaker 8 (18:41):
Top up Up to recently, oh, we'd always agree, and
now you've turned on me.
Speaker 3 (18:47):
What's cooking?
Speaker 9 (18:49):
Now?
Speaker 10 (18:49):
What you're doing?
Speaker 4 (18:50):
I just doing?
Speaker 3 (18:51):
Now I'm a big surprise, something's doing.
Speaker 8 (18:54):
I can play lest see it in your eyes? If
there's some wonder on your love, Manuel, now tell me
Betty do What's Cooking?
Speaker 6 (19:10):
That was Erskine Butterfield and his Blue Boys What's Cooking,
recorded on Decca Records back in nineteen forty. Erskine Butterfield
the talented pianist, singer, band leader, and composer. Erskine performed
from the This was the early nineteen thirties into the fifties.
(19:33):
Record we just heard was It was a light swing
piano piece by Erskine. But he was also known for
his boogie woogie.
Speaker 10 (19:56):
Oh the boogy beat will get you. If you don't
watch the beat of the boogie, it's hitting the town.
Speaker 8 (20:01):
Try them little haunt you and beat you down, played
by a heavy caddy as well.
Speaker 4 (20:05):
Ring down.
Speaker 8 (20:06):
The booky beat get you. If you don't watch out,
I know of a new way to get your kicks.
You sit by the sideline and dig hot next a
talk walk and bass.
Speaker 12 (20:15):
Why the really sticks over the booky beat to get you.
Speaker 8 (20:18):
If you don't watch out, don't mind saying I like
my music. Gate to the bar, keep bomb playing my
kind of music.
Speaker 3 (20:28):
Gate to the bar.
Speaker 10 (20:29):
You may like a rumber and fox trot to you.
Speaker 8 (20:32):
All other dances you used to do, they may be okay,
but I'm wanting you the Booky beat to get you.
Speaker 3 (20:38):
If you don't watch.
Speaker 12 (20:39):
Out, the beat of the Bookie is hitting the town
(21:22):
its rhythm or haunt you and beat your down, played
by a Hepicaine.
Speaker 8 (21:26):
Who's well in down all the bumpy bed to get
your If you don't watch out, I know of a
new way to get your kids.
Speaker 10 (21:32):
You sit behind the sideline and take hot necks a talk,
walking bass vents of the ling stick.
Speaker 8 (21:37):
So the Booky bean and get your If you don't
watch out, don't mind say and I like my music
came to the bar.
Speaker 3 (21:45):
Keep on playing.
Speaker 8 (21:46):
And my kind of music came to the barn. You
may like a rum bad fox. Try to all of
the dances you used to do. They may be okay,
But I'm wanting you the Bookie beat will get your
if you don't watch out, the book get you. If
you don't watch out the book you Beaty get you.
Speaker 6 (22:03):
If you don't watch out, the boogie beatle get you.
Recorded on a World War two V disc in May
of nineteen forty four, Erskine Butterfield and his orchestra, If
you're just joining us some fulfilling a request that was
made by Ben Chadwick, who lives in England and has
(22:25):
requested a segment on records and in some cases artists
never heard on the ballroom. So let's play another, this
one by the great Coody Williams. Some of you may
recognize that name. Coody was the longtime legendary trumpet soloist
for Duke Ellington. Coody started with the Duke. I guess
(22:48):
it was in the late nineteen twenties. He left Ellington.
I think it was right around nineteen forty. I guess
he briefly joined Benny Goodman, but then he formed his
own band before returning to Duke Ellington much later in
his career. So let's listen to one by Coody never
(23:10):
played here on the ball.
Speaker 13 (23:12):
Row smiles and a sign, struts a long and never
(23:56):
secluses A shoppee, the shoppest guy on the stripe, on
his socks and the big red tie. I got nothing
that is talking about it, wigling Tide. He's the shoppie,
the shoppest guy in time. You'll see him every well,
that's the girl inside every day, every night. And I'm
here to say that you can bet your life. That's
(24:18):
do and all right, if the girls will admire your
soulders so broad when he's wilding all the pad not
the tailor cool fort. He's a shoppie, the shoppest.
Speaker 4 (24:26):
Guy in time.
Speaker 6 (25:52):
Cody Williams and his Rug Cutters were a small group
unit drawn from Duke Ellington's August and they were active
mainly between nineteen thirty seven and thirty nine. Coody Williams
and his Rugcutters with a song named Sharpie, recorded August
the ninth, nineteen thirty eight for Victor Records in New
(26:14):
York City. You're listening to Jeff Bresler and this is
the make believe Ballroom. Let's play now a British group
never heard on the ballroom for Ben Chadwick as well
as all of our listeners across the pond we've here
on the ballroom, played them all over the years, Noble Hilton, Ambrose,
(26:38):
Loos Stone, Giraldo, of course Roy Fox. But I don't
think in all these years I ever played nat Ganella.
Speaker 10 (26:50):
Mister Riverman, swing me a real tempo.
Speaker 2 (27:00):
Okay, that's consists the cost.
Speaker 14 (28:35):
Let you hear that music start to playing, let me
see those people start. Just wait, Mistery the man swing
their band. Let me walk my blues away. Let to
hear those trumpets in the group. Let me steal my
tips and starts to move.
Speaker 10 (28:46):
Mister rhythm man, swing their band.
Speaker 14 (28:48):
Let me walk my blues away, swinging along that Fi
in my bones, shake my shoes, swinging up strong, making sure,
make me mown and shout that's good news. Let me
hear that jungle rhythm. Let me it is coming in myself.
Speaker 4 (29:01):
Mister rhythm man.
Speaker 10 (29:02):
Swing the fan. Yeah, mister man, just leave that man,
(29:36):
we're gonna swing on it.
Speaker 11 (29:38):
Yeah, what did you.
Speaker 4 (29:42):
What did you do?
Speaker 2 (29:44):
Yeah?
Speaker 6 (29:46):
Nat Ganella and his Georgians mister rhythmman, trumpet and vocal
by that recorded on Parlophone Records in London, England, on
February the twenty seventh, nineteen thirty seven. Now, in his
earlier days, Nat briefly worked with the aforementioned Roy Fox.
(30:12):
Then he had a stint with low Stone. And there's
a cool story about Nat. When he was with lou Stone,
Nat Ganella had said idolized Louis Armstrong. Louis visited London
in nineteen thirty two. Ganella wanted to meet Louie, but
(30:32):
he had no introduction to him, or knew anyone that
familiar with Louie or his uentourage that he Nat could
arrange a meeting with him. He did, though, get a
lead by someone that told Nat that he saw Louis
himself go to a music store to bring his trumpet
(30:54):
in for a cleaning. So Nat quickly hustled over to
that shop and asked one of the guy guys there
if he could deliver the cleaned trumpet to Louis himself. Now,
the guy in the store knew that well and told
him sure he could deliver it. It would just be
one less thing he would have to do. So Nat
(31:15):
brought the trumpet to Louie. I don't know if it
was at his hotel or in a studio or a restaurant,
but Louie appreciated NAT's willingness to help, and the two,
for many many years to come, became quick friends. So
much like Coody Williams and Duke Ellington, low Stone created
(31:37):
a band within a band to do some recording and
also play live during low Stone's big band performances, and
Ganella through Stone recorded a song in nineteen thirty two
that became a nice seller. So as NAT's reputation with
(31:59):
low Stone grew. He decided to form his own band
and we just heard that band and as I mentioned,
they were called the Georgians. But why the Georgians, Well
that was because the record he made in nineteen thirty
two for Stone was so well received by fans he
(32:22):
named the band after it, and that recording was.
Speaker 4 (32:41):
Georgia. The sweet song.
Speaker 15 (32:58):
Georgia on my Mind.
Speaker 11 (33:04):
Lord you on a mama.
Speaker 4 (33:07):
A dodger, A song move.
Speaker 15 (33:20):
Comes as sweet and clean.
Speaker 4 (33:24):
As the moonlight.
Speaker 8 (33:26):
You find my.
Speaker 11 (33:31):
Love.
Speaker 15 (33:34):
Allow reach out to me, Allies, Smile tenderly.
Speaker 10 (33:47):
Stay bes for me.
Speaker 4 (33:51):
I see the modes back to you.
Speaker 5 (33:56):
Who Georgia George dog.
Speaker 2 (34:05):
No MESI.
Speaker 4 (34:12):
Old sweet song diep Georgia on my Mi.
Speaker 6 (35:42):
Recorded in London, May the fifteenth, nineteen thirty four on
British Decca. Georgia on my Mind Nat Ganella and his orchestra,
and that song gave not Ganella's band its identity and
also served as NAT's signature tune. It was a pleasure
(36:06):
listening to Nat Ganella. And thank you Ben Chadwick for
your email suggestion for a segment on records and in
some cases artists never played before on the make Believe
ballroom to reach me as Ben did. Jeff at make
Believe Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroom
(36:31):
Radio dot com. And when we return one of our
most popular segments today, at the request of a special person,
said the General to.
Speaker 10 (36:48):
The captain, pops me the combo.
Speaker 9 (36:51):
Shut up early, mom, they are gone. The General jump
jump the don the captain to the private man, we
go a flange of the chandle than earl them all
day up bad.
Speaker 6 (37:04):
The General jump jumped the dog.
Speaker 16 (37:06):
Why I see you in the sky and for side
dropping fop dropping dropping in her a barbecue in Berlin, he.
Speaker 9 (37:26):
Said the private to the General, Jack, my jeep is
ready and steady.
Speaker 4 (37:30):
Then went early.
Speaker 9 (37:31):
Monday up the General jump jumped that dog. The General
had a groovy crew, a million lads, and I'm telling
you there were white men, black men on the beam,
a real solid all American team. He had tall men,
small men, fat and lean fighting his crew that you've
ever seen, every creed and color and every molief from
(37:52):
him an Eskimo to an Indian cheek. He had a
Sergeant Swinson, a Captain Kelly to call him the Rosen,
and a cook Marilla Lieutenant Jackson on a private joke.
Then the General said, let's hit them really jump, Remember
what you gotta win the war. Sent the private to
the General road jack Man jeevestein reading and steady.
Speaker 2 (38:16):
Upon the General.
Speaker 17 (38:21):
The General jump that down.
Speaker 6 (38:26):
The General jump at dawn. The Golden Gate Quartet recorded
on a SOUNDI back in nineteen forty four, So I
didn't get an email, but rather a text from Nino Savoldi.
Nino is the best friend of Angelo Carbone, and for
(38:47):
longtime listeners, that name should immediately ring a bell. Angelo
is the son of the late Ralph and Rose Carbone,
who in the mid nineteen thirties start did a record
club in their home that met faithfully every other Saturday
night right into the nineteen seventies, and what would happen
(39:10):
was friends and neighbors. They'd head to ninety fourth Street
between Avenues L and M in Canarsi, Brooklyn on those
Saturday nights to enjoy pot luck supper and then dance,
chat and listen to big band records. So this wonderful
(39:32):
club over the years decided to compile a list of
their favorite big band tunes, all ranked in order of
their likes, and that list, believe it or not, eventually
swelled to over eight hundred records, with revisions in the
rankings constantly updated. So Angelo a number of years ago
(39:58):
gave Lenny from down the Block this document, which we
officially call the Ralphie from Canarci Record Club List. So,
Nino SAVOLDI told me that Angelo was a little under
the weather and has been staying in his home in
his condo in Naples, Florida, for the past couple of weeks.
(40:19):
Nothing life threatening, just had a flu kind of bug.
And I guess he's well, I guess he's ninety three
or ninety four, but he's just taking a little extra
time to get back on his feet. So a long
story short, I told Nino that I would do a
Ralphie segment on this show for Angelo to listen to.
(40:42):
And you know, geez, come to think of it, just
a few months ago, Angelo took a little spill by
his pool. I mentioned that on the program. He recovered
from that nicely, but boy, now this so the best
wish is to you, Angelo, to be up on your
feet shortly and going back into the clubhouse there in
Naples and playing a little pinuckle So getting back to
(41:07):
the Ralfie from Canarsi Record Club lists here how here,
this is how this works and what we will be
doing today. I'm going to spin a virtual wheel and
simultaneously press the inter button, utilizing my trust the random
Numbers app, where I have listed numbers one to eight sixteen,
(41:30):
and then I go to the playlist and play the
corresponding random number that I selected with that number found
on the Ralphie from Canarsi Record Club list. So Lenny
from down the block he loaded and it took him,
oh Man, took him a long long time to load
(41:50):
all eight hundred and sixteen songs into a playlist. First,
only had to come up with the recordings of all
those records, which was it was anumental task. He did
this a number of years ago. But the whole process
is not that confusing, and I'll show you how it works.
So I spin the wheel while pressing the random number
(42:16):
app and I come up with number two forty three.
I then go to the playlist computer right next to me,
access to forty three and then play in this instance
this record.
Speaker 18 (42:43):
I Love my Heart at the stage door Cante.
Speaker 10 (43:56):
This cute story of army life romance.
Speaker 19 (44:00):
Don Cornell.
Speaker 18 (44:02):
I left my heart the stage door, County. I left
it there with the girl nid Nally.
Speaker 17 (44:20):
I kept deserving donuts. Tell all she had were gone.
I sat there drunking donuts till she caught all. I
must go back to the army Verty.
Speaker 18 (44:44):
And every doboy knows what that will me.
Speaker 17 (44:53):
A soldier boy with other heart has two strikes on him.
Speaker 18 (45:00):
Oh this and my host at the stage door County.
Speaker 6 (45:45):
I left my heart at the stage door Canteen written
by Irving Berlin, Swing and sway with Sammy Kay vocal
by Don Cornell, recorded on Victor Records in New York City,
June the twelfth, nineteen forty two. And that is our
first selection from the Ralphie from Canarsi Record Club list.
(46:06):
Angelo and Nino, It's time for another spin, and we
come up with number six forty seven. Six four seven
(46:27):
and six forty seven is.
Speaker 2 (47:57):
The name.
Speaker 6 (49:17):
From Decca Records. Maple Leaf rag Earl Hines and his Orchestra,
recorded in Chicago, Illinois, September the twelfth, nineteen thirty four.
I once asked Angelo if his father, Ralphie collected membership dues,
and Angelo told me from the first time the club met.
(49:41):
Right until the nineteen seventies, the charge was ten cents
a month. Ten cents a month, which Angelo said once
that Ralphie charged for Seltzer and phonograph needles. I don't
think ten cents went too far in the nineteen seventies,
but it was a tradition of the Ralphie from Canarsi
(50:05):
Record Club. Let's spin again and the wheel lands on
number one zero three.
Speaker 20 (50:30):
I'm gonna buy paper doll that I can call my
a dole that other fellows scare us deal, and then
the flirty flirty guys with the flirty flirty eyes. We'll
(50:51):
have to flirt with dollies that are real. When I
come home at night, you will be waiting. She'll be
the truest doll in all this world. I'd rather have
(51:11):
a paper doll to call more than have a fickle
my real love girl.
Speaker 4 (51:23):
I guess I.
Speaker 10 (51:25):
Had a million dollars or more.
Speaker 21 (51:29):
I guess I've played the dog game four Rendall. I
just called road with Sue. That's why I'm blue. She's
gone away and left me, just like all dolls do.
I'll tell you boys, it's tough to be alone and
(51:54):
it's tough to love a doll that's not your roll.
I'm through with all of them. I'll never fall against.
Speaker 4 (52:05):
Sab What you gonna do.
Speaker 19 (52:11):
I'm gonna buy a paper don that I can call
my a don that other pillows cannot steal.
Speaker 21 (52:22):
And then the flirty flirty guys.
Speaker 3 (52:26):
With the flirty.
Speaker 19 (52:27):
Flirty guys, we'll have to flirt with dolls lerry. When
a moment night she will be wearing. She'll be the
Jewiston in all this world.
Speaker 3 (52:45):
I rather have a paper doll to call.
Speaker 10 (52:50):
Min then have a big commandery love.
Speaker 6 (53:00):
The Mills Brothers on DECA Records with their classic Paper Doll,
recorded in New York City February eighteenth, nineteen forty two,
and that was one of my favorites. Also very important
to a record because not only did it spend twelve
weeks atop the best Sellers chart, but it set a
(53:22):
record thirty weeks in the top ten, something no other
nineteen forties decade hit managed to accomplish. I'm Jeff Bresler,
and you're listening to a segment where we are playing
tunes from the famed Ralphie from Canarsi Record Club list
in honor of Ralphie's son, Angelo, who's a little under
(53:44):
the weather, and they're recuperating in his condo in Naples, Florida.
Angelo also told me, once I told you about the
membership dues for the club, he gave me Ralphie's motto
one time and ido of Ralphie. Not necessarily the club
was quote unquote no sad songs before dessert. So let's
(54:08):
see if we can spin a happy tune, and we
land on one thirty three, one thirty three, no sad song.
Speaker 17 (54:28):
Here let.
Speaker 11 (55:23):
The paper.
Speaker 6 (56:50):
That I was a Little John Special by Lucky Millinder
(57:36):
and his orchestra featuring Dizzy Gillespie on the trumpet, recorded
on Decca Records in New York City, August the twenty ninth,
nineteen forty two. And wile, the range of Disney's trumpet
on that record was unreal. And what's even more unreal
is we're out of time. See you next week,
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 said Bob.
Speaker 2 (00:40):
Yours.
Speaker 1 (00:40):
Close your eyes and visualize in your solitude.
Speaker 2 (00:47):
Your favorite bands.
Speaker 3 (00:48):
Are on the stands, and mister Miller, what you in
the mood?
Speaker 1 (00:52):
It's make Believe ballroom time. We are a sweet romance
as you make believe bottom.
Speaker 4 (01:02):
Come on jo the.
Speaker 5 (01:03):
Last dass last.
Speaker 6 (01:06):
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 big band jazz, swing, blues,
(01:28):
and boogie woogie favorites. Folks, you're listening to the Make
Believe Ballroom, broadcasting almost continuously since nineteen thirty five. And
hi again, folks, thanks for joining me today in the
Crystal studio. I was looking through and listening to some records.
(01:49):
I think it was yes it was yesterday, and I
came across one that I'm going to play for you now. Actually,
I'm going to play both the A and B side.
You know, I like records with great stories, and this
record will not disappoint. So here is the A side.
Speaker 7 (03:00):
I think as there nothing that.
Speaker 6 (05:10):
Recorded on March the thirty first, nineteen thirty seven, at
Victor's Studio two in New York City, the great Fats
Waller tune Honeysuckle Rose, with the Victor label calling the
record quote unquote, a jam session at Victor. And here
(05:31):
is the back end story to how the recording came
about and why it was called the jam Session at Victor.
It was actually arranged somewhat spontaneously by Victor's recording director
at the time, the notorious Eli Oberstein, who we've discussed
on the program in the past. I call him notorious
(05:53):
because he did many things that were very positive for
the recording industry and also got involved in some shady
dealings with minor labels along the way. But nevertheless, Eli
realized that several of Victor's jazz artists that were under
(06:14):
contract were all in New York City at the same time,
so he decided to put together a recording session. Because
there was little planning, if any in advance, there was
no prepared charts, and due to other recording and performance
schedules for the musicians, it was reported there was very
(06:38):
little or no rehearsal at all. So the musicians, who
I will name in a moment elected to play two standards,
Honeysuckle Rose that we Just heard and the song titled Blues.
The playing, as you heard was fully improvised, and I
think that is why Victor decided to sell the record
(07:01):
as a jam session at Victor for the title on
the label, the guys we just heard jamming Honeysuckle Rose
were and poetic justice. Here Fats Waller with the piano,
Tommy Dorsey trombone, Bunny Berrigan the trumpet, Dick McDonough the guitar,
(07:21):
and George Wettling playing the drums. A stellar cast of
legends from the era. Now, when the record was released,
this spontaneous session, created totally by chance as all these
greats were in the Victor studio at the same time,
became very, very successful, reaching number four on the charts.
(07:46):
Let's listen now that you know who the musicians were.
To the B side of that record, Station.
Speaker 2 (08:32):
A love.
Speaker 6 (09:18):
Of Fats Waller, Tommy Dorsey, Bunny Berrigan, Dick McDonough, and
(10:52):
George wet Land, sides A and B from the Victor's
seventy eight RPM record A Jam Session at Victor. This
is by chance record I told you about actually went
on to be considered a historic recording and was reissued
(11:12):
many times over the decades. As a matter of fact,
the Smithsonian's National Museum of American History has the original
seventy eight rpm Shalac disc in its collection. I'm neither
historic or have any place of prominence in the Smithsonian,
(11:34):
but I am Jeff Presler and this is the Make
Believe Ballroom. Let me now play for you another record
that's also in the Smithsonians National Museum of American History
seventy eight RPM collection. Then after the record a listener's email.
Speaker 5 (12:10):
Previous Dass singing, and then.
Speaker 6 (14:28):
Recorded for Victor Records on January the twenty eighth, nineteen
thirty three, Swing You Cats Louis Armstrong and his orchestra
Eli Oberstein. By the way, he was also involved in
this one, and for whatever reason, he withheld Swing Your
(14:50):
Cats initially, but then finally released the record one year
later in February of nineteen thirty four on Victor there's
a budget label Bluebird Records, but the recording it finally
got it suggested sales wise and historically when it was
re released by Bluebird again in nineteen thirty nine. I'm
(15:13):
Jeff Bresler and you're listening to the one, the only,
the original Make Believe Ballroom. And somebody else who has
been listening is one Ben Chadwick, one of our across
the Pond listeners who enjoys the program on Akasha Radio
in Nottinghamshire in England. They a longstanding affiliate of the
(15:37):
Make Believe Ballroom and so deeply appreciated that they play
our program each week. So Ben wrote to me, Dear Jeff,
I'm a longtime listener to your fine program. Can you
play one of your sessions featuring artists rarely heard from?
And that signed Ben? And yes, Ben, we can do
(15:59):
that for you. I haven't just thinking no, I haven't
presented a segment in a while of records featuring band
leaders rarely heard not only on the Ballroom but in
many cases on records in general. I always enjoy doing
these segments and this should be fun. And since you
(16:19):
are in the UK, I will throw in a British musician.
So without further ado, Oh yes, but first before no
further ado, if you'd like to reach me like bendtt,
I'm Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff
at MakeBelieve Ballroom Radio dot com. So now let's spend
(16:43):
the first record to hear a band rarely heard on
this program.
Speaker 8 (17:02):
Now, honey, heir of lady, I can't get a day.
Speaker 4 (17:06):
You give me the game.
Speaker 3 (17:08):
What's cooking?
Speaker 9 (17:10):
Now?
Speaker 8 (17:10):
Up till recently, we'd always agree, and don't mean what's cooking?
Speaker 3 (17:17):
What you're doing?
Speaker 4 (17:18):
Now you're sting?
Speaker 3 (17:19):
Now a big surprise, something's brewing.
Speaker 4 (17:22):
I can play.
Speaker 3 (17:23):
Let's see it in your rise? Is there someone new
on your love?
Speaker 10 (17:28):
And you tell me, baby?
Speaker 3 (17:30):
Do what's cooking?
Speaker 11 (18:27):
Now?
Speaker 8 (18:34):
Un Here, ladies, I can't get a day cause you
give me the game.
Speaker 3 (18:39):
Say what's cooking?
Speaker 4 (18:40):
Huh?
Speaker 8 (18:41):
Top up Up to recently, oh, we'd always agree, and
now you've turned on me.
Speaker 3 (18:47):
What's cooking?
Speaker 9 (18:49):
Now?
Speaker 10 (18:49):
What you're doing?
Speaker 4 (18:50):
I just doing?
Speaker 3 (18:51):
Now I'm a big surprise, something's doing.
Speaker 8 (18:54):
I can play lest see it in your eyes? If
there's some wonder on your love, Manuel, now tell me
Betty do What's Cooking?
Speaker 6 (19:10):
That was Erskine Butterfield and his Blue Boys What's Cooking,
recorded on Decca Records back in nineteen forty. Erskine Butterfield
the talented pianist, singer, band leader, and composer. Erskine performed
from the This was the early nineteen thirties into the fifties.
(19:33):
Record we just heard was It was a light swing
piano piece by Erskine. But he was also known for
his boogie woogie.
Speaker 10 (19:56):
Oh the boogy beat will get you. If you don't
watch the beat of the boogie, it's hitting the town.
Speaker 8 (20:01):
Try them little haunt you and beat you down, played
by a heavy caddy as well.
Speaker 4 (20:05):
Ring down.
Speaker 8 (20:06):
The booky beat get you. If you don't watch out,
I know of a new way to get your kicks.
You sit by the sideline and dig hot next a
talk walk and bass.
Speaker 12 (20:15):
Why the really sticks over the booky beat to get you.
Speaker 8 (20:18):
If you don't watch out, don't mind saying I like
my music. Gate to the bar, keep bomb playing my
kind of music.
Speaker 3 (20:28):
Gate to the bar.
Speaker 10 (20:29):
You may like a rumber and fox trot to you.
Speaker 8 (20:32):
All other dances you used to do, they may be okay,
but I'm wanting you the Booky beat to get you.
Speaker 3 (20:38):
If you don't watch.
Speaker 12 (20:39):
Out, the beat of the Bookie is hitting the town
(21:22):
its rhythm or haunt you and beat your down, played
by a Hepicaine.
Speaker 8 (21:26):
Who's well in down all the bumpy bed to get
your If you don't watch out, I know of a
new way to get your kids.
Speaker 10 (21:32):
You sit behind the sideline and take hot necks a talk,
walking bass vents of the ling stick.
Speaker 8 (21:37):
So the Booky bean and get your If you don't
watch out, don't mind say and I like my music
came to the bar.
Speaker 3 (21:45):
Keep on playing.
Speaker 8 (21:46):
And my kind of music came to the barn. You
may like a rum bad fox. Try to all of
the dances you used to do. They may be okay,
But I'm wanting you the Bookie beat will get your
if you don't watch out, the book get you. If
you don't watch out the book you Beaty get you.
Speaker 6 (22:03):
If you don't watch out, the boogie beatle get you.
Recorded on a World War two V disc in May
of nineteen forty four, Erskine Butterfield and his orchestra, If
you're just joining us some fulfilling a request that was
made by Ben Chadwick, who lives in England and has
(22:25):
requested a segment on records and in some cases artists
never heard on the ballroom. So let's play another, this
one by the great Coody Williams. Some of you may
recognize that name. Coody was the longtime legendary trumpet soloist
for Duke Ellington. Coody started with the Duke. I guess
(22:48):
it was in the late nineteen twenties. He left Ellington.
I think it was right around nineteen forty. I guess
he briefly joined Benny Goodman, but then he formed his
own band before returning to Duke Ellington much later in
his career. So let's listen to one by Coody never
(23:10):
played here on the ball.
Speaker 13 (23:12):
Row smiles and a sign, struts a long and never
(23:56):
secluses A shoppee, the shoppest guy on the stripe, on
his socks and the big red tie. I got nothing
that is talking about it, wigling Tide. He's the shoppie,
the shoppest guy in time. You'll see him every well,
that's the girl inside every day, every night. And I'm
here to say that you can bet your life. That's
(24:18):
do and all right, if the girls will admire your
soulders so broad when he's wilding all the pad not
the tailor cool fort. He's a shoppie, the shoppest.
Speaker 4 (24:26):
Guy in time.
Speaker 6 (25:52):
Cody Williams and his Rug Cutters were a small group
unit drawn from Duke Ellington's August and they were active
mainly between nineteen thirty seven and thirty nine. Coody Williams
and his Rugcutters with a song named Sharpie, recorded August
the ninth, nineteen thirty eight for Victor Records in New
(26:14):
York City. You're listening to Jeff Bresler and this is
the make believe Ballroom. Let's play now a British group
never heard on the ballroom for Ben Chadwick as well
as all of our listeners across the pond we've here
on the ballroom, played them all over the years, Noble Hilton, Ambrose,
(26:38):
Loos Stone, Giraldo, of course Roy Fox. But I don't
think in all these years I ever played nat Ganella.
Speaker 10 (26:50):
Mister Riverman, swing me a real tempo.
Speaker 2 (27:00):
Okay, that's consists the cost.
Speaker 14 (28:35):
Let you hear that music start to playing, let me
see those people start. Just wait, Mistery the man swing
their band. Let me walk my blues away. Let to
hear those trumpets in the group. Let me steal my
tips and starts to move.
Speaker 10 (28:46):
Mister rhythm man, swing their band.
Speaker 14 (28:48):
Let me walk my blues away, swinging along that Fi
in my bones, shake my shoes, swinging up strong, making sure,
make me mown and shout that's good news. Let me
hear that jungle rhythm. Let me it is coming in myself.
Speaker 4 (29:01):
Mister rhythm man.
Speaker 10 (29:02):
Swing the fan. Yeah, mister man, just leave that man,
(29:36):
we're gonna swing on it.
Speaker 11 (29:38):
Yeah, what did you.
Speaker 4 (29:42):
What did you do?
Speaker 2 (29:44):
Yeah?
Speaker 6 (29:46):
Nat Ganella and his Georgians mister rhythmman, trumpet and vocal
by that recorded on Parlophone Records in London, England, on
February the twenty seventh, nineteen thirty seven. Now, in his
earlier days, Nat briefly worked with the aforementioned Roy Fox.
(30:12):
Then he had a stint with low Stone. And there's
a cool story about Nat. When he was with lou Stone,
Nat Ganella had said idolized Louis Armstrong. Louis visited London
in nineteen thirty two. Ganella wanted to meet Louie, but
(30:32):
he had no introduction to him, or knew anyone that
familiar with Louie or his uentourage that he Nat could
arrange a meeting with him. He did, though, get a
lead by someone that told Nat that he saw Louis
himself go to a music store to bring his trumpet
(30:54):
in for a cleaning. So Nat quickly hustled over to
that shop and asked one of the guy guys there
if he could deliver the cleaned trumpet to Louis himself. Now,
the guy in the store knew that well and told
him sure he could deliver it. It would just be
one less thing he would have to do. So Nat
(31:15):
brought the trumpet to Louie. I don't know if it
was at his hotel or in a studio or a restaurant,
but Louie appreciated NAT's willingness to help, and the two,
for many many years to come, became quick friends. So
much like Coody Williams and Duke Ellington, low Stone created
(31:37):
a band within a band to do some recording and
also play live during low Stone's big band performances, and
Ganella through Stone recorded a song in nineteen thirty two
that became a nice seller. So as NAT's reputation with
(31:59):
low Stone grew. He decided to form his own band
and we just heard that band and as I mentioned,
they were called the Georgians. But why the Georgians, Well
that was because the record he made in nineteen thirty
two for Stone was so well received by fans he
(32:22):
named the band after it, and that recording was.
Speaker 4 (32:41):
Georgia. The sweet song.
Speaker 15 (32:58):
Georgia on my Mind.
Speaker 11 (33:04):
Lord you on a mama.
Speaker 4 (33:07):
A dodger, A song move.
Speaker 15 (33:20):
Comes as sweet and clean.
Speaker 4 (33:24):
As the moonlight.
Speaker 8 (33:26):
You find my.
Speaker 11 (33:31):
Love.
Speaker 15 (33:34):
Allow reach out to me, Allies, Smile tenderly.
Speaker 10 (33:47):
Stay bes for me.
Speaker 4 (33:51):
I see the modes back to you.
Speaker 5 (33:56):
Who Georgia George dog.
Speaker 2 (34:05):
No MESI.
Speaker 4 (34:12):
Old sweet song diep Georgia on my Mi.
Speaker 6 (35:42):
Recorded in London, May the fifteenth, nineteen thirty four on
British Decca. Georgia on my Mind Nat Ganella and his orchestra,
and that song gave not Ganella's band its identity and
also served as NAT's signature tune. It was a pleasure
(36:06):
listening to Nat Ganella. And thank you Ben Chadwick for
your email suggestion for a segment on records and in
some cases artists never played before on the make Believe
ballroom to reach me as Ben did. Jeff at make
Believe Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroom
(36:31):
Radio dot com. And when we return one of our
most popular segments today, at the request of a special person,
said the General to.
Speaker 10 (36:48):
The captain, pops me the combo.
Speaker 9 (36:51):
Shut up early, mom, they are gone. The General jump
jump the don the captain to the private man, we
go a flange of the chandle than earl them all
day up bad.
Speaker 6 (37:04):
The General jump jumped the dog.
Speaker 16 (37:06):
Why I see you in the sky and for side
dropping fop dropping dropping in her a barbecue in Berlin, he.
Speaker 9 (37:26):
Said the private to the General, Jack, my jeep is
ready and steady.
Speaker 4 (37:30):
Then went early.
Speaker 9 (37:31):
Monday up the General jump jumped that dog. The General
had a groovy crew, a million lads, and I'm telling
you there were white men, black men on the beam,
a real solid all American team. He had tall men,
small men, fat and lean fighting his crew that you've
ever seen, every creed and color and every molief from
(37:52):
him an Eskimo to an Indian cheek. He had a
Sergeant Swinson, a Captain Kelly to call him the Rosen,
and a cook Marilla Lieutenant Jackson on a private joke.
Then the General said, let's hit them really jump, Remember
what you gotta win the war. Sent the private to
the General road jack Man jeevestein reading and steady.
Speaker 2 (38:16):
Upon the General.
Speaker 17 (38:21):
The General jump that down.
Speaker 6 (38:26):
The General jump at dawn. The Golden Gate Quartet recorded
on a SOUNDI back in nineteen forty four, So I
didn't get an email, but rather a text from Nino Savoldi.
Nino is the best friend of Angelo Carbone, and for
(38:47):
longtime listeners, that name should immediately ring a bell. Angelo
is the son of the late Ralph and Rose Carbone,
who in the mid nineteen thirties start did a record
club in their home that met faithfully every other Saturday
night right into the nineteen seventies, and what would happen
(39:10):
was friends and neighbors. They'd head to ninety fourth Street
between Avenues L and M in Canarsi, Brooklyn on those
Saturday nights to enjoy pot luck supper and then dance,
chat and listen to big band records. So this wonderful
(39:32):
club over the years decided to compile a list of
their favorite big band tunes, all ranked in order of
their likes, and that list, believe it or not, eventually
swelled to over eight hundred records, with revisions in the
rankings constantly updated. So Angelo a number of years ago
(39:58):
gave Lenny from down the Block this document, which we
officially call the Ralphie from Canarci Record Club List. So,
Nino SAVOLDI told me that Angelo was a little under
the weather and has been staying in his home in
his condo in Naples, Florida, for the past couple of weeks.
(40:19):
Nothing life threatening, just had a flu kind of bug.
And I guess he's well, I guess he's ninety three
or ninety four, but he's just taking a little extra
time to get back on his feet. So a long
story short, I told Nino that I would do a
Ralphie segment on this show for Angelo to listen to.
(40:42):
And you know, geez, come to think of it, just
a few months ago, Angelo took a little spill by
his pool. I mentioned that on the program. He recovered
from that nicely, but boy, now this so the best
wish is to you, Angelo, to be up on your
feet shortly and going back into the clubhouse there in
Naples and playing a little pinuckle So getting back to
(41:07):
the Ralfie from Canarsi Record Club lists here how here,
this is how this works and what we will be
doing today. I'm going to spin a virtual wheel and
simultaneously press the inter button, utilizing my trust the random
Numbers app, where I have listed numbers one to eight sixteen,
(41:30):
and then I go to the playlist and play the
corresponding random number that I selected with that number found
on the Ralphie from Canarsi Record Club list. So Lenny
from down the block he loaded and it took him,
oh Man, took him a long long time to load
(41:50):
all eight hundred and sixteen songs into a playlist. First,
only had to come up with the recordings of all
those records, which was it was anumental task. He did
this a number of years ago. But the whole process
is not that confusing, and I'll show you how it works.
So I spin the wheel while pressing the random number
(42:16):
app and I come up with number two forty three.
I then go to the playlist computer right next to me,
access to forty three and then play in this instance
this record.
Speaker 18 (42:43):
I Love my Heart at the stage door Cante.
Speaker 10 (43:56):
This cute story of army life romance.
Speaker 19 (44:00):
Don Cornell.
Speaker 18 (44:02):
I left my heart the stage door, County. I left
it there with the girl nid Nally.
Speaker 17 (44:20):
I kept deserving donuts. Tell all she had were gone.
I sat there drunking donuts till she caught all. I
must go back to the army Verty.
Speaker 18 (44:44):
And every doboy knows what that will me.
Speaker 17 (44:53):
A soldier boy with other heart has two strikes on him.
Speaker 18 (45:00):
Oh this and my host at the stage door County.
Speaker 6 (45:45):
I left my heart at the stage door Canteen written
by Irving Berlin, Swing and sway with Sammy Kay vocal
by Don Cornell, recorded on Victor Records in New York City,
June the twelfth, nineteen forty two. And that is our
first selection from the Ralphie from Canarsi Record Club list.
(46:06):
Angelo and Nino, It's time for another spin, and we
come up with number six forty seven. Six four seven
(46:27):
and six forty seven is.
Speaker 2 (47:57):
The name.
Speaker 6 (49:17):
From Decca Records. Maple Leaf rag Earl Hines and his Orchestra,
recorded in Chicago, Illinois, September the twelfth, nineteen thirty four.
I once asked Angelo if his father, Ralphie collected membership dues,
and Angelo told me from the first time the club met.
(49:41):
Right until the nineteen seventies, the charge was ten cents
a month. Ten cents a month, which Angelo said once
that Ralphie charged for Seltzer and phonograph needles. I don't
think ten cents went too far in the nineteen seventies,
but it was a tradition of the Ralphie from Canarsi
(50:05):
Record Club. Let's spin again and the wheel lands on
number one zero three.
Speaker 20 (50:30):
I'm gonna buy paper doll that I can call my
a dole that other fellows scare us deal, and then
the flirty flirty guys with the flirty flirty eyes. We'll
(50:51):
have to flirt with dollies that are real. When I
come home at night, you will be waiting. She'll be
the truest doll in all this world. I'd rather have
(51:11):
a paper doll to call more than have a fickle
my real love girl.
Speaker 4 (51:23):
I guess I.
Speaker 10 (51:25):
Had a million dollars or more.
Speaker 21 (51:29):
I guess I've played the dog game four Rendall. I
just called road with Sue. That's why I'm blue. She's
gone away and left me, just like all dolls do.
I'll tell you boys, it's tough to be alone and
(51:54):
it's tough to love a doll that's not your roll.
I'm through with all of them. I'll never fall against.
Speaker 4 (52:05):
Sab What you gonna do.
Speaker 19 (52:11):
I'm gonna buy a paper don that I can call
my a don that other pillows cannot steal.
Speaker 21 (52:22):
And then the flirty flirty guys.
Speaker 3 (52:26):
With the flirty.
Speaker 19 (52:27):
Flirty guys, we'll have to flirt with dolls lerry. When
a moment night she will be wearing. She'll be the
Jewiston in all this world.
Speaker 3 (52:45):
I rather have a paper doll to call.
Speaker 10 (52:50):
Min then have a big commandery love.
Speaker 6 (53:00):
The Mills Brothers on DECA Records with their classic Paper Doll,
recorded in New York City February eighteenth, nineteen forty two,
and that was one of my favorites. Also very important
to a record because not only did it spend twelve
weeks atop the best Sellers chart, but it set a
(53:22):
record thirty weeks in the top ten, something no other
nineteen forties decade hit managed to accomplish. I'm Jeff Bresler,
and you're listening to a segment where we are playing
tunes from the famed Ralphie from Canarsi Record Club list
in honor of Ralphie's son, Angelo, who's a little under
(53:44):
the weather, and they're recuperating in his condo in Naples, Florida.
Angelo also told me, once I told you about the
membership dues for the club, he gave me Ralphie's motto
one time and ido of Ralphie. Not necessarily the club
was quote unquote no sad songs before dessert. So let's
(54:08):
see if we can spin a happy tune, and we
land on one thirty three, one thirty three, no sad song.
Speaker 17 (54:28):
Here let.
Speaker 11 (55:23):
The paper.
Speaker 6 (56:50):
That I was a Little John Special by Lucky Millinder
(57:36):
and his orchestra featuring Dizzy Gillespie on the trumpet, recorded
on Decca Records in New York City, August the twenty ninth,
nineteen forty two. And wile, the range of Disney's trumpet
on that record was unreal. And what's even more unreal
is we're out of time. See you next week,
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