November 7, 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 funny Billie Holiday story, some of the wealthiest bandleaders of the era, an out-of-this-world record - plus many more great records and stories to cherish and enjoy on this week's broadcast.
On this week's program: a funny Billie Holiday story, some of the wealthiest bandleaders of the era, an out-of-this-world record - plus many more great records and stories to cherish and enjoy on this week's broadcast.
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Episode Transcript
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Speaker 1 (00:12):
It's make Believe Ballom time.
Speaker 2 (00:15):
Put all your cares away.
Speaker 1 (00:19):
All the bands are here to bring good cheer your way.
It's make Belief Ballroom time and free to everyone. It's
no time to friend your Dalis said bombs. Close your
(00:41):
eyes and visual lize in your solitude. Your favorite bands
are on this dance and mister Miller, but you in
the wood. It's make Believe Ballom time.
Speaker 3 (00:55):
We are a sweet romance.
Speaker 1 (01:00):
Did you make believe?
Speaker 4 (01:01):
Come on, Joe, last dance least.
Speaker 5 (01:06):
Hello world, I'm Jeff Bresler, turning on the lights of
the Make Belief Ballroom and welcoming you into my Crystal
studio for another program of classic big band hits from
the nineteen thirties and nineteen forties. Please get ready as
I play for you some amazing big band jazz, swing, blues,
(01:27):
and boogie woogie favorites. Folks, you're listening to the Make
Believe Ballroom, broadcasting almost continuously since nineteen thirty five. Hello friends,
and welcome once again into my Crystal studio. A great
show planned all designed to bring you some great music
(01:47):
and two or three great stories today that I think
you will enjoy. So let's get things started as I
invite you to enjoy this.
Speaker 6 (03:03):
Ill some folks like here to be it. Really I
don't go for that stuff no more.
Speaker 7 (03:10):
Anytime you really want to send me Bounce me brother.
The saut let four come on in the wh please
is jumping. Everybody's out on the floor. If you want
to keep the rhythm, pump and just bounce me brother.
Though in the st let for the Dixie Land Beads
(03:30):
was never like this. We got a new bed and
no one can miss if the boogie work he sent
you like I think it did, go to the bar,
flift your lins.
Speaker 6 (03:41):
Move the table and roll the rug up, shut the
windows and lock the door, clears the floor, and while
a digger chug up a bounce me brother.
Speaker 7 (03:52):
But it's a hollid for.
Speaker 8 (04:02):
This show.
Speaker 5 (04:48):
S from Columbia Records. Bounce Me Brother with a solid
(05:08):
four Will Bradley and his Orchestra featuring Ray McKinley, recorded
in New York City in nineteen forty one. How about
one more than a Little Lady Day two fur.
Speaker 9 (06:22):
Swinging, keep your fingers taped swinging, anything can happen. It
started in Harlem and then in a flat. It traveled
from Harlem now Park Avenue has taken the kid Dames swinging,
(06:42):
slowing out a normal bird.
Speaker 2 (06:45):
Swinging.
Speaker 7 (06:47):
Do it on the wrong buzz.
Speaker 2 (06:50):
They'll do it in London, They'll do it in Frank.
Speaker 9 (06:54):
It's hot and smokey honkey, don't you.
Speaker 5 (06:57):
That's from Victor Records. Let's Swing It by Ray Noble
(07:53):
and his Orchestra. Vocal by the Freshman, recorded in New
York City, June eighthineteen thirty five. And well, it's been
a long time since I was a freshman. But I
am the host of the Make Bully Ballroom. My name
is Jeff Wrestler, and welcome into the Crystal Studio today
as I now play for you or record by Lady
(08:15):
Day aka Billy Holiday.
Speaker 10 (08:34):
Good morning honey, you ow Loomis say good morning honey.
That we said goodbye last name at ten and task
until it seen you head.
Speaker 4 (08:56):
But he h with the un.
Speaker 10 (09:03):
We're chad forgive you, but you're here to stay here.
It seems I met you when my love went away.
Speaker 4 (09:18):
Night.
Speaker 10 (09:19):
Every day I stop by say to you, good morning, hurry,
what's new? Stop haunting me?
Speaker 11 (09:36):
Now?
Speaker 10 (09:41):
Had change? You know how? Just leave me alone. I've
got those Monday blues. Straight blues, Sunday Blues. Good morning, Honey,
(10:07):
here we go again. Good morning, honey, you the one
who knew me when might as well get used to
you hanging around? Good morning heartache, Sit down, stop haunting.
Speaker 12 (10:37):
Now, can chase you know how?
Speaker 10 (10:49):
Just leave real loone. I've got loads Monday blues, straight
through Sunday blues.
Speaker 4 (11:03):
Good morning, Hardy.
Speaker 10 (11:06):
He good again, Good morning Hardy. You the one who
knew me with man as well, getting used to you
hanging around? Good morning, hotay, sit down.
Speaker 5 (11:41):
From Decca Records. Good morning Heartache. The wonderful blues singer
Billy Holiday recorded in New York City January the twenty second,
nineteen forty six, and heartache, as you may know, Billy
Holiday did have personally and unfortunately throughout most of her life.
(12:07):
She was born into poverty, became an alcoholic and heroin user.
Being black and a woman, she got an extra dose
of racism and sexism, and then ultimately suffering failing health
that prematurely led to her death at the age of
forty four in nineteen fifty nine. So really, truly, Billy
(12:31):
Holiday understood the blues, but at times, though there were
lighter moments in her life, and one I would like
to relate to you that had to do with when
she was singing with the Count Basie. The band was
on a trip from West Virginia back to their home
base in New York City. Now, Billy Holiday at the
(12:54):
time was earning fourteen dollars a day, and in the
late nineteen thirties, it might sound to you like a
fair wage. But let me read to you how Billy,
in her own words, looked at that, and the bus
trip she was on fourteen dollars a day sounded really great.
(13:15):
Nobody bothered to tell me I'd have to travel five
hundred to six hundred miles on a hot or cold,
raggedy assed blue goose bus, or that it would cost
me two or three bucks a night for a room,
or that by the time I was through having my
hair fixed and gowns pressed, to say nothing of paying
for pretty clothes to wear, I'd end up with about
(13:38):
a dollar and a half a day. Out of that,
I had to eat and drink and send home some
lut to Mom. Whenever I had a couple of bucks,
it was always so little I was ashamed to send
it home, so I would give it to Lester young
to invest. I hoped he could shoot enough dice to
parlay it into a bill big enough I didn't have
(13:59):
to feel a shait to send it home. The first
time out, we had been riding for three months, and
neither Lester nor I had a dime. Both of us
were actually hungry. Jimmy Rushing, the blues singer with the band,
was always the only one who had any loot. We
went to him once and asked him real nice for
a buck to buy a couple of hamburgers. He wouldn't
(14:22):
give us nothing but a lecture on how he saved
his money and how we petered hours away. When we
were on the bus coming back to New York from
West Virginia, I couldn't stand the thought of coming home
to mom broke. I had four bucks when that craft
game started on the bus, I said, you're not shooting
(14:42):
these four I said that to Lester. I'm shooting these myself.
I got on my knees in the first time. Up
it was a seven. Everybody hollered at me that the
bus had swerved and made me shoot it over. Up
came eleven. I picked up the four bucks right there
and won the next three pots before somebody said something
(15:03):
about comfort. I thought they said, what do you come from?
I said, I come from any damn thing you come from.
I didn't know the dice lingo, but I knew Lester did,
so I told him I'd do the shooting and he
could be the lookout man. I was on my knees
in the bottom of that bus from West Virginia to
(15:24):
New York, a few hundred miles and about twelve hours.
When we pulled up in front of the Woodside in Harlem,
everybody was broken crying. I was filthy, dirty and had
holes in the knees of my stockings, but I had
sixteen hundred dollars. I gave some of the cats in
the band enough luke to eat with and for carfare,
(15:47):
but not Jimmy Rushing. I didn't give him a dime.
I took what was left and split on uptown to Mom's.
When I walked in, she looked at me and liked
to die. I was so dirty and beat up up.
I just waited for her to say something, and she did.
I'll bet you ain't got a dime either, Mom said,
(16:07):
I took that money over one thousand dollars and threw
it on the floor. She salted a lot of it away,
and later it became the nest egg she used to
start her own little restaurant, Mom Holidays, something she always wanted.
A great Billie Holiday story, one where she finally got
some fun out of life.
Speaker 10 (16:37):
When we want too long loan, When we want.
Speaker 13 (16:42):
To kiss, we kiss with the little penny.
Speaker 10 (16:49):
We're getting some phone out of play. When we want
to work, we work.
Speaker 14 (16:58):
When we want to play.
Speaker 12 (17:01):
We play and not happy secting. We're getting some fall
out of play.
Speaker 15 (17:12):
Maybe we do the right thing.
Speaker 12 (17:17):
Maybe we do the long, spending each day just winding
our way alone.
Speaker 10 (17:28):
When we want to sing, we sing. When we want to.
Speaker 3 (17:34):
Dance, e lays, you.
Speaker 10 (17:37):
Can do your Betty.
Speaker 12 (17:40):
We're getting some fall out of play.
Speaker 11 (17:53):
Happen the.
Speaker 4 (18:55):
May, we do the light. Maybe we do.
Speaker 2 (19:02):
Not spending each day just when.
Speaker 15 (19:07):
We no, but when we want to sing weezy, when
we want to day's wee day.
Speaker 4 (19:20):
You get you your meeting.
Speaker 15 (19:22):
We get me some fun.
Speaker 5 (19:28):
Some vocalion records Getting some fun out of life Billy
Holiday with Lester Young, recorded in New York City, September thirteenth,
nineteen thirty seven. I'm Jeff wrestler and you're listening to
the one, the only, the original make Believe Ballroom coming
(19:48):
to you today from my Crystal Studio.
Speaker 2 (20:01):
It was a lucky for shower.
Speaker 16 (20:05):
It was the most convenient doll. I found a million
dollar baby in a five intens and stall. The rain
continued for an hour.
Speaker 17 (20:23):
I hung around for three or four.
Speaker 16 (20:27):
Around a million dollar baby in a five intense and store.
Speaker 3 (20:34):
She was selling chin.
Speaker 16 (20:38):
And when she made those eyes, I kept buying china.
Speaker 17 (20:46):
Until the crowd got war.
Speaker 16 (20:51):
Incidentally, if you should run into a shower, just step
inside my cottage door and meet the million dollar baby
from the five and ten cent storm. Love comes along
(21:11):
like a popular song any time or anywhere at all,
rain or sunshine, spring.
Speaker 3 (21:21):
All fall.
Speaker 6 (21:24):
Say.
Speaker 17 (21:25):
You never know what it may say. Hello in a
very unexpected place for eggsample take my case.
Speaker 18 (21:43):
For the bad babble Babby didn't but evil mable level
babble level.
Speaker 19 (22:07):
Work.
Speaker 4 (22:12):
I did learn.
Speaker 17 (22:15):
She was selling china, and when she made.
Speaker 8 (22:19):
All I kept buying china.
Speaker 18 (22:27):
Until the clouds got by.
Speaker 17 (22:31):
Incidentally, if you should run in Jewish hour, step inside
my cottage doll.
Speaker 18 (22:42):
And meet my million dollar baby from the five hand.
Speaker 16 (22:47):
Same doll.
Speaker 5 (22:51):
From Brunswick Records. I found a million dollar baby bing Crosby,
recorded in Los Angeles, June the twelfth, nineteen thirty one.
Years later, I think it was in forty one or
forty two, Crosby re recorded that song, but I always
found the song recorded in thirty one by Brunswick to
be a lot jazzier. So that's why I chose that
(23:14):
of my two choices where I found a million dollar
baby by Bing Crosby. The guys I am about to
talk to you about didn't find their million dollar babies,
or maybe they did, but what is true is that
they became millionaires or the equivalent of millionaires in today's money,
(23:35):
that through their talent and hard work. So I wanted
to devote this segment of the ballroom to the let's see,
what shall I call them? Why don't we call them
the super six? A list of from what I've researched,
is the six wealthiest band leaders of the big band era.
(23:55):
And I think the way we'll do this is I'll
play one of their songs and then tell you all
little about their wealth. So let's proceed with number of
sex of the super sex of big band earners.
Speaker 2 (25:00):
I never thought that.
Speaker 4 (25:17):
You would be standing here so closed to read. There's
so much I feel that I should say, but words
can wait until some other day. Kiss me once, then
(25:42):
kiss me twice, then kiss me once again. It's been
a long long time. Haven't felt like this, my dear,
since can't remember when it's.
Speaker 10 (25:59):
Been a long long time.
Speaker 13 (26:05):
You'll never know how many dreams I dream above, or
just how empty they all see with you. So kiss
me once, then kisney twice, than kissney once again.
Speaker 4 (26:25):
It's been a long long time.
Speaker 5 (27:30):
From Columbia Records, It's been a long long time by
Harry James and his Orchestra vocal by Kitty Callen, recorded
in nineteen forty five. Harry James I have ranked as
the sixth wealthiest Big Band era band leader, and from
what I have come up with, Harriet his peak during
(27:53):
the era was making right around ten thousand dollars a week,
which today would be around two hundred and twenty five
thousand dollars. And he made this money from the Harry
James Orchestra as well as working very hard to establish
a high quality horse racing stable. And of course it
(28:14):
didn't hurt one bed, It didn't hurt his prestige or
bottom line that he was married for some time to
Betty Grable, making them one of the wealthiest couples in Hollywood.
So Harry James at number six, who was the fifth wealthiest.
Speaker 2 (29:07):
From the.
Speaker 8 (29:37):
Business chang.
Speaker 3 (30:19):
Yeah, what do you know what gen O Joe?
Speaker 4 (30:25):
I don't know nothing.
Speaker 8 (30:27):
Watch your Joe.
Speaker 4 (30:28):
Tell me something.
Speaker 10 (30:30):
Watching old Joe.
Speaker 4 (30:31):
Ain't come nipping. I hate jiving. I don't know.
Speaker 10 (30:35):
Watching old Joe Well, I don't know what happened.
Speaker 4 (30:38):
Watching old Joe ain't hog heaven.
Speaker 7 (30:41):
Watching old Joe, I ain't fooling.
Speaker 6 (30:44):
I need schooling.
Speaker 4 (30:45):
I don't know.
Speaker 13 (30:47):
I don't know.
Speaker 5 (30:48):
Mom, try to tell me.
Speaker 1 (30:50):
So my boy, let me go. Courtn't even see a
movie show Watching O Joe, Well.
Speaker 6 (30:59):
I just can't what j Joe Well, I don't take it.
Speaker 3 (31:03):
Watch Jo Joe.
Speaker 6 (31:04):
We're just walking.
Speaker 4 (31:06):
I'm talking.
Speaker 3 (31:07):
I just don't know.
Speaker 5 (31:53):
Via Victor Records, What You Know Joe by Tommy Dorsey
and his Orchestra vocal by the Pied Pipers, recorded in
New York City, February the seventh, nineteen forty one. So
Tommy Dorsey, by use of the Jeff Brestler make believe
ballroom calculator was the fifth wealthiest band leader of the era.
(32:18):
He was also in that ten thousand dollars per week range. Now, Tommy,
in addition to being a great bandleader, was a great
promoter of his orchestra. It said that he was a
superb at getting radio sponsors and also finding his way
to Hollywood to make some lucrative films with his orchestra.
(32:41):
Tommy also published a lot of music and it certainly
didn't hurt in the nineteen forties to have Frank Sinatra
as his premier vocalist, which assured Dorsey of getting the
most high paying band gigs. So, Tommy Dorsey, sitting at
number five, now number four, I think will be a
(33:02):
big surprise to you.
Speaker 19 (33:26):
Oh You've got me crying for you, And as I
(34:33):
sit here and silent say I I can't believe it's true.
Speaker 10 (34:42):
I'll tell my mama I'm you.
Speaker 19 (34:48):
A little game that you played has made.
Speaker 11 (34:53):
Her baby oh so blue.
Speaker 19 (34:55):
You left me in the lurch, You left me waiting
as a church.
Speaker 18 (35:06):
Boo.
Speaker 19 (35:10):
That's why I'm playing for you. Some day you'll be
like I do, and you be boo hoo hooing to.
Speaker 5 (36:05):
From Victor Records Boo Hoo. Guy Lombardo and his Royal
Canadians recorded in New York City, February the second, nineteen
thirty seven. Guy Lombardo the fourth wealthiest big band leader.
Guy Lombardo. You may ask why him, Well, I guess
the keyword here is probably, Oh, it's probably longevity. You
(36:29):
may not be aware, but Guy Lombardo, in a sweet
style of music over the decades, led to the sale
of over one hundred million records. His name was also synonymous,
as many of you might remember, with New Year's Eve,
something he ushered in on television for years and years,
(36:51):
and that kept his name in the public eye. I
guess staying the steady path in the business for over
forty years would indeed make you a millionaire. So Guy
Lombardo is number four as the wealthiest band leader of
all time. Now down to the top three and in
third place.
Speaker 14 (37:45):
Don't sit under the apple tree with anyone else but me,
anyone else but me, anyone else but me.
Speaker 7 (37:54):
No, no, no, don't sit under the apple tree with
anyone else.
Speaker 8 (37:59):
But me until I come marchin home.
Speaker 14 (38:06):
Don't go walking down Lovers Lane with anyone else.
Speaker 7 (38:09):
But me, anyone else but me.
Speaker 2 (38:14):
Anyone else but me.
Speaker 14 (38:15):
No, no, no, don't go walking down Lovers.
Speaker 1 (38:18):
Lane with anyone else but me till I come marchant home.
Speaker 14 (38:27):
I just got word from a guy who heard from
the guy next door to me. The girl he met
just loves to beat and infit you dote, So don't
sit under the apple tree with anyone else but me
till I.
Speaker 8 (38:43):
Come my chan on.
Speaker 13 (38:53):
Don't give up with those slips of yours to anyone else.
Speaker 4 (38:57):
But me, anyone else, anyone else but me. No, no, no,
Watch the girls on the foreign shows. You'll have to
report to me when you came marching home. Don't hold
anyone on your knee. You better be true to me.
(39:20):
You better be true to me. You better be true
to me. Don't hold anyone on your knee. You get
not third degree When you come marching home.
Speaker 10 (39:35):
You're on your own. Weather is no phone, and I
can't keep tab on.
Speaker 14 (39:39):
You be fair to me.
Speaker 4 (39:42):
I'll guarantee you this is one thing that I'll do.
I won't sit under the apple tree with anyone else
but you till you come marching home.
Speaker 8 (40:00):
Under the apple tree with anyone.
Speaker 19 (40:04):
I know.
Speaker 14 (40:05):
The apple tree is deserved by you.
Speaker 10 (40:08):
And me.
Speaker 5 (40:21):
From Bluebird Records. Don't sit under the apple tree with
anyone else but me. Glenn Miller and his orchestra, vocals
by Marion Hutton, Tex s Beneke and the Modernaires, recorded
in New York City in nineteen forty two. Glenn Miller
number three in the top wealthiest via the Make Believe
(40:43):
Ballroom Jeff Bresler Research Center. Now Glenn was earning twenty
thousand dollars a week, twice that of James and Dorsey.
And although his music lives on forever in actuality, we
all know we had a very short career. But due
to the success of dozens of hits and shrewd planning
(41:06):
by Miller and ultimately his estate, his catalog continues to
make money, believe it or not, to this very day.
So Glenn Miller at number three in wealth. Now, folks
were down to the top two. You probably know at
least one of the two, or maybe both, but in
(41:26):
what order, definitely subject on Victor Records. A Rollum by
(44:38):
Benny Goodman and his Orchestra recorded in Hollywood, July the seventh,
nineteen thirty seven, three sevens in there Benny Goodman number
two on the Make Believe Ballroom list of wealthiest banned leaders,
and Benny at his peak was earning around fifteen thousand
dollars a week. And then he racked up quite a
(45:01):
bit of wealth from radio films, music royalties, and in
no small part to intelligent investments. And it didn't hurt
him one bit that he married into wealth. His wife, Alice,
was a member of the Vanderbilt family. So Benny Goodman
sitting at number two, and now, ladies and gentlemen, the
(45:24):
Numero Uno the number one wealthiest big band era band
leader of all time.
Speaker 10 (46:41):
No, it's like a cigarette.
Speaker 1 (46:47):
You know you held my heart of love between your fingery.
Speaker 10 (46:55):
I just like a cigarette.
Speaker 2 (47:01):
I never knew the girl of life until I join me.
Speaker 10 (47:08):
Then y's like a cigarette. Y'all seem to pay it
away and leave behind.
Speaker 4 (47:18):
That is of megare.
Speaker 10 (47:21):
Then with a bliss of your finger nip it was
easy for you.
Speaker 2 (47:27):
You forget it.
Speaker 19 (47:29):
Long It lie a cigaret.
Speaker 5 (48:27):
On Brunswick Records. Love is Like a Cigarette by Duke
Ellington and his Orchestra, vocal by the wonderful Ivy Anderson,
recorded in New York City, February the twenty eighth, nineteen
thirty six. Duke Ellington Folks is the number one wealthiest
bandleader of all time. He, like Lombardo, led a band
(48:52):
not for Lombardo's forty years, but Duke ran a band
for fifty years, and Duke rode over a thousand pieces,
and he built a huge catalog that's is still well
in actuality. It's earning millions today. So while others spiked
and faded, Duke Ellington's wealth came from endurance, genius, good investment,
(49:16):
and as I just said, publishing rights simply put, Duke
reigns supreme as the wealthiest band leader of all time.
Let me also give you now my other researched wealthiest
to round it out to ten seventh already Shaw, eighth,
(49:39):
Count Basie, ninth, interesting Stan Kenton, and tenth also with
a lot of longevity on his side, the great Paul Whiteman,
Ladies and gentlemen, was my pleasure bringing you the super
six of band leader wealth. Back in nineteen twenty seven,
(50:00):
Louis Armstrong in his Hot seven recorded Melancholy Blues for
Okay Records, and that record is truly one of the
early jazz era's greatest pieces, featuring solos by Louis around
fifty years ago, NASA launched Voyager one and two. They
(50:22):
were tasked with exploring the Solar System and taking measurements
and photos of planets and moons and detail that was
unseen until that mission. Now, on that spacecraft, NASA placed
something it had never done before. They placed the kind
of a time capsule that was intended to communicate a
(50:46):
story of our world to perhaps sometime in the future
Extra terrestrials. Now, the Voyager message is carried by a
phonograph record, twelve inch gold plated copper disc that contained
sounds and images that a team that was headed by
(51:08):
Carl Sagan, the legendary astronomer, was selected and tasked to
portray the diversity of life and culture on our planet Earth. Now.
The music selected by Sagan and his team for the
Voyager gold record included a diverse range of music, such
(51:29):
as classical pieces by Bach and Beethoven, traditional music from
various cultures. There were folk songs, and more contemporary music
like Chuck Berry's Johnny B. Good and Louis Armstrong's Melancholy
Blues that we just mentioned. As many of you realize
(51:50):
or might not know, Voyager one, which was launched over
fifty years ago in the nineteen seventies. Voyager one is
approximately as I speak, twenty five point two billion miles
from Earth, making it the farthest human made object from
(52:13):
our planet. Voyager two is significantly closer, at approximately twenty
point four billion miles, and maybe perhaps in ten thousand years,
or ten million years or a billion years, one of
these ships will be captured, brought to an alien planet.
(52:34):
Have the disc deciphered and enjoy the music of one
Louis Satchmo Armstrong.
Speaker 2 (53:19):
Anything any level, A little.
Speaker 3 (54:32):
Enery aro, folks.
Speaker 5 (55:44):
I'm sorry to say, but we are out of time.
I am going out with an apropos song Artie Shaw
and his orchestra from the Cafe Rouge in the Hotel Pennsylvania,
recorded for the radio in nineteen thirty nine, number titled
Man from Mars. You'd like to reach me Jeff at
(56:05):
Make Believe Ballroom Radio dot com. Jeff at MakeBelieve Ballroom
Radio dot Com. To hear more than two hundred past
archived programs, go to make Believe Ballroom dot Com. That's
make Believe Ballroom dot com. So until next week here
on planet Earth, this has been Jeff Bressler.
Speaker 2 (57:02):
They anything
Speaker 11 (57:09):
Anything,
It's make Believe Ballom time.
Speaker 2 (00:15):
Put all your cares away.
Speaker 1 (00:19):
All the bands are here to bring good cheer your way.
It's make Belief Ballroom time and free to everyone. It's
no time to friend your Dalis said bombs. Close your
(00:41):
eyes and visual lize in your solitude. Your favorite bands
are on this dance and mister Miller, but you in
the wood. It's make Believe Ballom time.
Speaker 3 (00:55):
We are a sweet romance.
Speaker 1 (01:00):
Did you make believe?
Speaker 4 (01:01):
Come on, Joe, last dance least.
Speaker 5 (01:06):
Hello world, I'm Jeff Bresler, turning on the lights of
the Make Belief Ballroom and welcoming you into my Crystal
studio for another program of classic big band hits from
the nineteen thirties and nineteen forties. Please get ready as
I play for you some amazing big band jazz, swing, blues,
(01:27):
and boogie woogie favorites. Folks, you're listening to the Make
Believe Ballroom, broadcasting almost continuously since nineteen thirty five. Hello friends,
and welcome once again into my Crystal studio. A great
show planned all designed to bring you some great music
(01:47):
and two or three great stories today that I think
you will enjoy. So let's get things started as I
invite you to enjoy this.
Speaker 6 (03:03):
Ill some folks like here to be it. Really I
don't go for that stuff no more.
Speaker 7 (03:10):
Anytime you really want to send me Bounce me brother.
The saut let four come on in the wh please
is jumping. Everybody's out on the floor. If you want
to keep the rhythm, pump and just bounce me brother.
Though in the st let for the Dixie Land Beads
(03:30):
was never like this. We got a new bed and
no one can miss if the boogie work he sent
you like I think it did, go to the bar,
flift your lins.
Speaker 6 (03:41):
Move the table and roll the rug up, shut the
windows and lock the door, clears the floor, and while
a digger chug up a bounce me brother.
Speaker 7 (03:52):
But it's a hollid for.
Speaker 8 (04:02):
This show.
Speaker 5 (04:48):
S from Columbia Records. Bounce Me Brother with a solid
(05:08):
four Will Bradley and his Orchestra featuring Ray McKinley, recorded
in New York City in nineteen forty one. How about
one more than a Little Lady Day two fur.
Speaker 9 (06:22):
Swinging, keep your fingers taped swinging, anything can happen. It
started in Harlem and then in a flat. It traveled
from Harlem now Park Avenue has taken the kid Dames swinging,
(06:42):
slowing out a normal bird.
Speaker 2 (06:45):
Swinging.
Speaker 7 (06:47):
Do it on the wrong buzz.
Speaker 2 (06:50):
They'll do it in London, They'll do it in Frank.
Speaker 9 (06:54):
It's hot and smokey honkey, don't you.
Speaker 5 (06:57):
That's from Victor Records. Let's Swing It by Ray Noble
(07:53):
and his Orchestra. Vocal by the Freshman, recorded in New
York City, June eighthineteen thirty five. And well, it's been
a long time since I was a freshman. But I
am the host of the Make Bully Ballroom. My name
is Jeff Wrestler, and welcome into the Crystal Studio today
as I now play for you or record by Lady
(08:15):
Day aka Billy Holiday.
Speaker 10 (08:34):
Good morning honey, you ow Loomis say good morning honey.
That we said goodbye last name at ten and task
until it seen you head.
Speaker 4 (08:56):
But he h with the un.
Speaker 10 (09:03):
We're chad forgive you, but you're here to stay here.
It seems I met you when my love went away.
Speaker 4 (09:18):
Night.
Speaker 10 (09:19):
Every day I stop by say to you, good morning, hurry,
what's new? Stop haunting me?
Speaker 11 (09:36):
Now?
Speaker 10 (09:41):
Had change? You know how? Just leave me alone. I've
got those Monday blues. Straight blues, Sunday Blues. Good morning, Honey,
(10:07):
here we go again. Good morning, honey, you the one
who knew me when might as well get used to
you hanging around? Good morning heartache, Sit down, stop haunting.
Speaker 12 (10:37):
Now, can chase you know how?
Speaker 10 (10:49):
Just leave real loone. I've got loads Monday blues, straight
through Sunday blues.
Speaker 4 (11:03):
Good morning, Hardy.
Speaker 10 (11:06):
He good again, Good morning Hardy. You the one who
knew me with man as well, getting used to you
hanging around? Good morning, hotay, sit down.
Speaker 5 (11:41):
From Decca Records. Good morning Heartache. The wonderful blues singer
Billy Holiday recorded in New York City January the twenty second,
nineteen forty six, and heartache, as you may know, Billy
Holiday did have personally and unfortunately throughout most of her life.
(12:07):
She was born into poverty, became an alcoholic and heroin user.
Being black and a woman, she got an extra dose
of racism and sexism, and then ultimately suffering failing health
that prematurely led to her death at the age of
forty four in nineteen fifty nine. So really, truly, Billy
(12:31):
Holiday understood the blues, but at times, though there were
lighter moments in her life, and one I would like
to relate to you that had to do with when
she was singing with the Count Basie. The band was
on a trip from West Virginia back to their home
base in New York City. Now, Billy Holiday at the
(12:54):
time was earning fourteen dollars a day, and in the
late nineteen thirties, it might sound to you like a
fair wage. But let me read to you how Billy,
in her own words, looked at that, and the bus
trip she was on fourteen dollars a day sounded really great.
(13:15):
Nobody bothered to tell me I'd have to travel five
hundred to six hundred miles on a hot or cold,
raggedy assed blue goose bus, or that it would cost
me two or three bucks a night for a room,
or that by the time I was through having my
hair fixed and gowns pressed, to say nothing of paying
for pretty clothes to wear, I'd end up with about
(13:38):
a dollar and a half a day. Out of that,
I had to eat and drink and send home some
lut to Mom. Whenever I had a couple of bucks,
it was always so little I was ashamed to send
it home, so I would give it to Lester young
to invest. I hoped he could shoot enough dice to
parlay it into a bill big enough I didn't have
(13:59):
to feel a shait to send it home. The first
time out, we had been riding for three months, and
neither Lester nor I had a dime. Both of us
were actually hungry. Jimmy Rushing, the blues singer with the band,
was always the only one who had any loot. We
went to him once and asked him real nice for
a buck to buy a couple of hamburgers. He wouldn't
(14:22):
give us nothing but a lecture on how he saved
his money and how we petered hours away. When we
were on the bus coming back to New York from
West Virginia, I couldn't stand the thought of coming home
to mom broke. I had four bucks when that craft
game started on the bus, I said, you're not shooting
(14:42):
these four I said that to Lester. I'm shooting these myself.
I got on my knees in the first time. Up
it was a seven. Everybody hollered at me that the
bus had swerved and made me shoot it over. Up
came eleven. I picked up the four bucks right there
and won the next three pots before somebody said something
(15:03):
about comfort. I thought they said, what do you come from?
I said, I come from any damn thing you come from.
I didn't know the dice lingo, but I knew Lester did,
so I told him I'd do the shooting and he
could be the lookout man. I was on my knees
in the bottom of that bus from West Virginia to
(15:24):
New York, a few hundred miles and about twelve hours.
When we pulled up in front of the Woodside in Harlem,
everybody was broken crying. I was filthy, dirty and had
holes in the knees of my stockings, but I had
sixteen hundred dollars. I gave some of the cats in
the band enough luke to eat with and for carfare,
(15:47):
but not Jimmy Rushing. I didn't give him a dime.
I took what was left and split on uptown to Mom's.
When I walked in, she looked at me and liked
to die. I was so dirty and beat up up.
I just waited for her to say something, and she did.
I'll bet you ain't got a dime either, Mom said,
(16:07):
I took that money over one thousand dollars and threw
it on the floor. She salted a lot of it away,
and later it became the nest egg she used to
start her own little restaurant, Mom Holidays, something she always wanted.
A great Billie Holiday story, one where she finally got
some fun out of life.
Speaker 10 (16:37):
When we want too long loan, When we want.
Speaker 13 (16:42):
To kiss, we kiss with the little penny.
Speaker 10 (16:49):
We're getting some phone out of play. When we want
to work, we work.
Speaker 14 (16:58):
When we want to play.
Speaker 12 (17:01):
We play and not happy secting. We're getting some fall
out of play.
Speaker 15 (17:12):
Maybe we do the right thing.
Speaker 12 (17:17):
Maybe we do the long, spending each day just winding
our way alone.
Speaker 10 (17:28):
When we want to sing, we sing. When we want to.
Speaker 3 (17:34):
Dance, e lays, you.
Speaker 10 (17:37):
Can do your Betty.
Speaker 12 (17:40):
We're getting some fall out of play.
Speaker 11 (17:53):
Happen the.
Speaker 4 (18:55):
May, we do the light. Maybe we do.
Speaker 2 (19:02):
Not spending each day just when.
Speaker 15 (19:07):
We no, but when we want to sing weezy, when
we want to day's wee day.
Speaker 4 (19:20):
You get you your meeting.
Speaker 15 (19:22):
We get me some fun.
Speaker 5 (19:28):
Some vocalion records Getting some fun out of life Billy
Holiday with Lester Young, recorded in New York City, September thirteenth,
nineteen thirty seven. I'm Jeff wrestler and you're listening to
the one, the only, the original make Believe Ballroom coming
(19:48):
to you today from my Crystal Studio.
Speaker 2 (20:01):
It was a lucky for shower.
Speaker 16 (20:05):
It was the most convenient doll. I found a million
dollar baby in a five intens and stall. The rain
continued for an hour.
Speaker 17 (20:23):
I hung around for three or four.
Speaker 16 (20:27):
Around a million dollar baby in a five intense and store.
Speaker 3 (20:34):
She was selling chin.
Speaker 16 (20:38):
And when she made those eyes, I kept buying china.
Speaker 17 (20:46):
Until the crowd got war.
Speaker 16 (20:51):
Incidentally, if you should run into a shower, just step
inside my cottage door and meet the million dollar baby
from the five and ten cent storm. Love comes along
(21:11):
like a popular song any time or anywhere at all,
rain or sunshine, spring.
Speaker 3 (21:21):
All fall.
Speaker 6 (21:24):
Say.
Speaker 17 (21:25):
You never know what it may say. Hello in a
very unexpected place for eggsample take my case.
Speaker 18 (21:43):
For the bad babble Babby didn't but evil mable level
babble level.
Speaker 19 (22:07):
Work.
Speaker 4 (22:12):
I did learn.
Speaker 17 (22:15):
She was selling china, and when she made.
Speaker 8 (22:19):
All I kept buying china.
Speaker 18 (22:27):
Until the clouds got by.
Speaker 17 (22:31):
Incidentally, if you should run in Jewish hour, step inside
my cottage doll.
Speaker 18 (22:42):
And meet my million dollar baby from the five hand.
Speaker 16 (22:47):
Same doll.
Speaker 5 (22:51):
From Brunswick Records. I found a million dollar baby bing Crosby,
recorded in Los Angeles, June the twelfth, nineteen thirty one.
Years later, I think it was in forty one or
forty two, Crosby re recorded that song, but I always
found the song recorded in thirty one by Brunswick to
be a lot jazzier. So that's why I chose that
(23:14):
of my two choices where I found a million dollar
baby by Bing Crosby. The guys I am about to
talk to you about didn't find their million dollar babies,
or maybe they did, but what is true is that
they became millionaires or the equivalent of millionaires in today's money,
(23:35):
that through their talent and hard work. So I wanted
to devote this segment of the ballroom to the let's see,
what shall I call them? Why don't we call them
the super six? A list of from what I've researched,
is the six wealthiest band leaders of the big band era.
(23:55):
And I think the way we'll do this is I'll
play one of their songs and then tell you all
little about their wealth. So let's proceed with number of
sex of the super sex of big band earners.
Speaker 2 (25:00):
I never thought that.
Speaker 4 (25:17):
You would be standing here so closed to read. There's
so much I feel that I should say, but words
can wait until some other day. Kiss me once, then
(25:42):
kiss me twice, then kiss me once again. It's been
a long long time. Haven't felt like this, my dear,
since can't remember when it's.
Speaker 10 (25:59):
Been a long long time.
Speaker 13 (26:05):
You'll never know how many dreams I dream above, or
just how empty they all see with you. So kiss
me once, then kisney twice, than kissney once again.
Speaker 4 (26:25):
It's been a long long time.
Speaker 5 (27:30):
From Columbia Records, It's been a long long time by
Harry James and his Orchestra vocal by Kitty Callen, recorded
in nineteen forty five. Harry James I have ranked as
the sixth wealthiest Big Band era band leader, and from
what I have come up with, Harriet his peak during
(27:53):
the era was making right around ten thousand dollars a week,
which today would be around two hundred and twenty five
thousand dollars. And he made this money from the Harry
James Orchestra as well as working very hard to establish
a high quality horse racing stable. And of course it
(28:14):
didn't hurt one bed, It didn't hurt his prestige or
bottom line that he was married for some time to
Betty Grable, making them one of the wealthiest couples in Hollywood.
So Harry James at number six, who was the fifth wealthiest.
Speaker 2 (29:07):
From the.
Speaker 8 (29:37):
Business chang.
Speaker 3 (30:19):
Yeah, what do you know what gen O Joe?
Speaker 4 (30:25):
I don't know nothing.
Speaker 8 (30:27):
Watch your Joe.
Speaker 4 (30:28):
Tell me something.
Speaker 10 (30:30):
Watching old Joe.
Speaker 4 (30:31):
Ain't come nipping. I hate jiving. I don't know.
Speaker 10 (30:35):
Watching old Joe Well, I don't know what happened.
Speaker 4 (30:38):
Watching old Joe ain't hog heaven.
Speaker 7 (30:41):
Watching old Joe, I ain't fooling.
Speaker 6 (30:44):
I need schooling.
Speaker 4 (30:45):
I don't know.
Speaker 13 (30:47):
I don't know.
Speaker 5 (30:48):
Mom, try to tell me.
Speaker 1 (30:50):
So my boy, let me go. Courtn't even see a
movie show Watching O Joe, Well.
Speaker 6 (30:59):
I just can't what j Joe Well, I don't take it.
Speaker 3 (31:03):
Watch Jo Joe.
Speaker 6 (31:04):
We're just walking.
Speaker 4 (31:06):
I'm talking.
Speaker 3 (31:07):
I just don't know.
Speaker 5 (31:53):
Via Victor Records, What You Know Joe by Tommy Dorsey
and his Orchestra vocal by the Pied Pipers, recorded in
New York City, February the seventh, nineteen forty one. So
Tommy Dorsey, by use of the Jeff Brestler make believe
ballroom calculator was the fifth wealthiest band leader of the era.
(32:18):
He was also in that ten thousand dollars per week range. Now, Tommy,
in addition to being a great bandleader, was a great
promoter of his orchestra. It said that he was a
superb at getting radio sponsors and also finding his way
to Hollywood to make some lucrative films with his orchestra.
(32:41):
Tommy also published a lot of music and it certainly
didn't hurt in the nineteen forties to have Frank Sinatra
as his premier vocalist, which assured Dorsey of getting the
most high paying band gigs. So, Tommy Dorsey, sitting at
number five, now number four, I think will be a
(33:02):
big surprise to you.
Speaker 19 (33:26):
Oh You've got me crying for you, And as I
(34:33):
sit here and silent say I I can't believe it's true.
Speaker 10 (34:42):
I'll tell my mama I'm you.
Speaker 19 (34:48):
A little game that you played has made.
Speaker 11 (34:53):
Her baby oh so blue.
Speaker 19 (34:55):
You left me in the lurch, You left me waiting
as a church.
Speaker 18 (35:06):
Boo.
Speaker 19 (35:10):
That's why I'm playing for you. Some day you'll be
like I do, and you be boo hoo hooing to.
Speaker 5 (36:05):
From Victor Records Boo Hoo. Guy Lombardo and his Royal
Canadians recorded in New York City, February the second, nineteen
thirty seven. Guy Lombardo the fourth wealthiest big band leader.
Guy Lombardo. You may ask why him, Well, I guess
the keyword here is probably, Oh, it's probably longevity. You
(36:29):
may not be aware, but Guy Lombardo, in a sweet
style of music over the decades, led to the sale
of over one hundred million records. His name was also synonymous,
as many of you might remember, with New Year's Eve,
something he ushered in on television for years and years,
(36:51):
and that kept his name in the public eye. I
guess staying the steady path in the business for over
forty years would indeed make you a millionaire. So Guy
Lombardo is number four as the wealthiest band leader of
all time. Now down to the top three and in
third place.
Speaker 14 (37:45):
Don't sit under the apple tree with anyone else but me,
anyone else but me, anyone else but me.
Speaker 7 (37:54):
No, no, no, don't sit under the apple tree with
anyone else.
Speaker 8 (37:59):
But me until I come marchin home.
Speaker 14 (38:06):
Don't go walking down Lovers Lane with anyone else.
Speaker 7 (38:09):
But me, anyone else but me.
Speaker 2 (38:14):
Anyone else but me.
Speaker 14 (38:15):
No, no, no, don't go walking down Lovers.
Speaker 1 (38:18):
Lane with anyone else but me till I come marchant home.
Speaker 14 (38:27):
I just got word from a guy who heard from
the guy next door to me. The girl he met
just loves to beat and infit you dote, So don't
sit under the apple tree with anyone else but me
till I.
Speaker 8 (38:43):
Come my chan on.
Speaker 13 (38:53):
Don't give up with those slips of yours to anyone else.
Speaker 4 (38:57):
But me, anyone else, anyone else but me. No, no, no,
Watch the girls on the foreign shows. You'll have to
report to me when you came marching home. Don't hold
anyone on your knee. You better be true to me.
(39:20):
You better be true to me. You better be true
to me. Don't hold anyone on your knee. You get
not third degree When you come marching home.
Speaker 10 (39:35):
You're on your own. Weather is no phone, and I
can't keep tab on.
Speaker 14 (39:39):
You be fair to me.
Speaker 4 (39:42):
I'll guarantee you this is one thing that I'll do.
I won't sit under the apple tree with anyone else
but you till you come marching home.
Speaker 8 (40:00):
Under the apple tree with anyone.
Speaker 19 (40:04):
I know.
Speaker 14 (40:05):
The apple tree is deserved by you.
Speaker 10 (40:08):
And me.
Speaker 5 (40:21):
From Bluebird Records. Don't sit under the apple tree with
anyone else but me. Glenn Miller and his orchestra, vocals
by Marion Hutton, Tex s Beneke and the Modernaires, recorded
in New York City in nineteen forty two. Glenn Miller
number three in the top wealthiest via the Make Believe
(40:43):
Ballroom Jeff Bresler Research Center. Now Glenn was earning twenty
thousand dollars a week, twice that of James and Dorsey.
And although his music lives on forever in actuality, we
all know we had a very short career. But due
to the success of dozens of hits and shrewd planning
(41:06):
by Miller and ultimately his estate, his catalog continues to
make money, believe it or not, to this very day.
So Glenn Miller at number three in wealth. Now, folks
were down to the top two. You probably know at
least one of the two, or maybe both, but in
(41:26):
what order, definitely subject on Victor Records. A Rollum by
(44:38):
Benny Goodman and his Orchestra recorded in Hollywood, July the seventh,
nineteen thirty seven, three sevens in there Benny Goodman number
two on the Make Believe Ballroom list of wealthiest banned leaders,
and Benny at his peak was earning around fifteen thousand
dollars a week. And then he racked up quite a
(45:01):
bit of wealth from radio films, music royalties, and in
no small part to intelligent investments. And it didn't hurt
him one bit that he married into wealth. His wife, Alice,
was a member of the Vanderbilt family. So Benny Goodman
sitting at number two, and now, ladies and gentlemen, the
(45:24):
Numero Uno the number one wealthiest big band era band
leader of all time.
Speaker 10 (46:41):
No, it's like a cigarette.
Speaker 1 (46:47):
You know you held my heart of love between your fingery.
Speaker 10 (46:55):
I just like a cigarette.
Speaker 2 (47:01):
I never knew the girl of life until I join me.
Speaker 10 (47:08):
Then y's like a cigarette. Y'all seem to pay it
away and leave behind.
Speaker 4 (47:18):
That is of megare.
Speaker 10 (47:21):
Then with a bliss of your finger nip it was
easy for you.
Speaker 2 (47:27):
You forget it.
Speaker 19 (47:29):
Long It lie a cigaret.
Speaker 5 (48:27):
On Brunswick Records. Love is Like a Cigarette by Duke
Ellington and his Orchestra, vocal by the wonderful Ivy Anderson,
recorded in New York City, February the twenty eighth, nineteen
thirty six. Duke Ellington Folks is the number one wealthiest
bandleader of all time. He, like Lombardo, led a band
(48:52):
not for Lombardo's forty years, but Duke ran a band
for fifty years, and Duke rode over a thousand pieces,
and he built a huge catalog that's is still well
in actuality. It's earning millions today. So while others spiked
and faded, Duke Ellington's wealth came from endurance, genius, good investment,
(49:16):
and as I just said, publishing rights simply put, Duke
reigns supreme as the wealthiest band leader of all time.
Let me also give you now my other researched wealthiest
to round it out to ten seventh already Shaw, eighth,
(49:39):
Count Basie, ninth, interesting Stan Kenton, and tenth also with
a lot of longevity on his side, the great Paul Whiteman,
Ladies and gentlemen, was my pleasure bringing you the super
six of band leader wealth. Back in nineteen twenty seven,
(50:00):
Louis Armstrong in his Hot seven recorded Melancholy Blues for
Okay Records, and that record is truly one of the
early jazz era's greatest pieces, featuring solos by Louis around
fifty years ago, NASA launched Voyager one and two. They
(50:22):
were tasked with exploring the Solar System and taking measurements
and photos of planets and moons and detail that was
unseen until that mission. Now, on that spacecraft, NASA placed
something it had never done before. They placed the kind
of a time capsule that was intended to communicate a
(50:46):
story of our world to perhaps sometime in the future
Extra terrestrials. Now, the Voyager message is carried by a
phonograph record, twelve inch gold plated copper disc that contained
sounds and images that a team that was headed by
(51:08):
Carl Sagan, the legendary astronomer, was selected and tasked to
portray the diversity of life and culture on our planet Earth. Now.
The music selected by Sagan and his team for the
Voyager gold record included a diverse range of music, such
(51:29):
as classical pieces by Bach and Beethoven, traditional music from
various cultures. There were folk songs, and more contemporary music
like Chuck Berry's Johnny B. Good and Louis Armstrong's Melancholy
Blues that we just mentioned. As many of you realize
(51:50):
or might not know, Voyager one, which was launched over
fifty years ago in the nineteen seventies. Voyager one is
approximately as I speak, twenty five point two billion miles
from Earth, making it the farthest human made object from
(52:13):
our planet. Voyager two is significantly closer, at approximately twenty
point four billion miles, and maybe perhaps in ten thousand years,
or ten million years or a billion years, one of
these ships will be captured, brought to an alien planet.
(52:34):
Have the disc deciphered and enjoy the music of one
Louis Satchmo Armstrong.
Speaker 2 (53:19):
Anything any level, A little.
Speaker 3 (54:32):
Enery aro, folks.
Speaker 5 (55:44):
I'm sorry to say, but we are out of time.
I am going out with an apropos song Artie Shaw
and his orchestra from the Cafe Rouge in the Hotel Pennsylvania,
recorded for the radio in nineteen thirty nine, number titled
Man from Mars. You'd like to reach me Jeff at
(56:05):
Make Believe Ballroom Radio dot com. Jeff at MakeBelieve Ballroom
Radio dot Com. To hear more than two hundred past
archived programs, go to make Believe Ballroom dot Com. That's
make Believe Ballroom dot com. So until next week here
on planet Earth, this has been Jeff Bressler.
Speaker 2 (57:02):
They anything
Speaker 11 (57:09):
Anything,
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