June 13, 2025 • 58 mins
This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s -One of the all time great female vocalists first record as a younf teenager, a dubious record company executive, Lenny from Down the Block with his Record Pick of the Week—this and many more great songs and stories to cherish and enjoy on the program.
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Speaker 1 (00:12):
It's make Believe Ballroom time.
Speaker 2 (00:15):
Put all your cares away. All the bands are here
to bring.
Speaker 3 (00:22):
Good cheer your way.
Speaker 1 (00:25):
It's make belief Ballom time and free to everyone.
Speaker 2 (00:33):
It's no time to friend your Dalis.
Speaker 3 (00:36):
Said Bamba.
Speaker 4 (00:39):
Yours.
Speaker 2 (00:40):
Close your eyes and visualize in your solitude.
Speaker 1 (00:46):
Your favorite bands are on this stance and mister Miller,
but you in the mood. It's make Believe Ballom time.
We are a sweet romance.
Speaker 5 (01:00):
As you make it.
Speaker 6 (01:01):
Bob, come on, Jole, last, Dass.
Speaker 3 (01:04):
Last, Hello world.
Speaker 7 (01:07):
I'm Jeff Bresler, 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 nineteen forties. Whether you're listening on the radio
via great affiliates like Jazz ninety point one WGMC in Rochester,
(01:28):
New York, or on a podcast or on internet radio
in the United Kingdom, please get ready as I spin
for you some amazing big band jazz, swing, blues and
boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom,
broadcasting almost continuously since nineteen thirty five, and friends. We
(01:53):
have a show just packed with music today. Let's warm
things up in the study video to get this engine
up to pressure.
Speaker 8 (02:57):
Swing mister johnyr swing mister Charlie. I don't care what
to just make it a hortoon. Play a normal tune
of a theme that's new, and don't you hit is
harder than anything ever since time begin. Swing mister Charlie,
(03:21):
or swing mister Charlie. No one can swing in live
you do.
Speaker 3 (03:29):
I can't get enough of.
Speaker 9 (03:32):
That swingable rhythm.
Speaker 8 (03:34):
Stuff, Swing mister Charlie. Swing Oh, Swing mister Charlie, or
(04:26):
swing mister Charlie. I don't care what to just make
it a hot tune. Play a borrow tune of a
theme that's snoop, and you don't you hit? His hart
than anything I've heard since time began. Swing mister Charlie,
(04:46):
or swing mister Charlie. No one gets swingy.
Speaker 3 (04:53):
You do.
Speaker 10 (04:55):
I can't get enough of the.
Speaker 8 (04:58):
Swing of over thom stuff, Swing mister Charmie, Cling mister John.
Speaker 7 (05:12):
On Decca Records, Swing mister Charlie. You might have recognized
the vocalist, Yes, of course it was Judy Garland, who
was just thirteen when she recorded This Swinger with Bob
Crosby and his band Swing Mister Charlie, recorded on June
the twelfth, nineteen thirty six, in New York City. How
(05:35):
about another Crosby Garland collaboration that came out of that
very same Decca recording session, Sama.
Speaker 11 (05:50):
The Home of Sweet Romance Samo. When you had a glance,
Samo gives heavy feed a chest your fam just like
a cleaning line. Your lips are woman, sweet as wine.
Your cheeks all swarm and close to mine.
Speaker 5 (06:10):
Be bor.
Speaker 3 (06:12):
Have my heart is singing while the bad is swinging.
Speaker 8 (06:18):
Never tired of romping stopping with you at the Savoy
watch im perfect holiday Saboi where we can glide and
swing Savoian.
Speaker 11 (06:30):
Let me stump away.
Speaker 8 (06:32):
With you.
Speaker 10 (07:20):
Savoy Tavot table your mom.
Speaker 3 (07:32):
Just like a cringing mine.
Speaker 8 (07:34):
Your lips a woman sweet as wine, Your cheeks were
salted close to mine.
Speaker 3 (07:41):
Neiby, oh all.
Speaker 6 (07:44):
My heart is singing while the band he's swinging.
Speaker 8 (07:49):
Never tired of robbin stopping when you have the Savoy
but your.
Speaker 10 (07:57):
Sabot Savon.
Speaker 7 (08:06):
Stomping at the Savoy Vocal by thirteen year old Judy
Garland Orchestra conducted by Bob Crosby recorded in New York
June the twelfth, nineteen thirty six. And folks, you know,
there's a great story that's told about this recording of
Stomping at the Savoy. This was Judy's very first commercial
(08:30):
record release, along with swing mister Charlie. So, as the
story goes, Judy Judy Garland was assigned by Deck of
Records to sit in with the Bob Crosby band for
a couple of tracks. But Bob Crosby's band manager, Gil Rodin,
(08:51):
who also by the way, played sacks with the band, well,
he wasn't at all impressed with Judy, and he went
to Deck and told them that the Crosby name should
not be included on the label. Now, in addition to
not being enamored by Garland, Gil felt it was a
(09:12):
bad image for the band to be recording with a
oh with a little thirteen year old squirt. So the
record label for Stompin' at Savoy, the Decca record label
simply reads Stompin' at the Savoy, Judy Garland, thirteen years old.
(09:33):
Very interesting story there about Judy Garland and Bob Crosby,
and now friends.
Speaker 9 (09:42):
Gonna smile and say I hope you're feeling better.
Speaker 6 (09:50):
And load with loud a way.
Speaker 12 (09:58):
I'm going with that.
Speaker 7 (10:15):
Yes, we get letters each week in the form of
emails Jeff at make Believe Ballroom Radio dot com. That's
Jeff at make Believe Ballroom Radio dot com to reach me.
And today I'm going to read only one email since
I am going to put a pretty large string of
music together in just a few minutes. The email that
(10:38):
I have in front of me, and it's not in
front of me, it's wait a second, here it is
the email boy is from Chuck Goosoff, who listens via iHeartRadio,
and he writes, Jeff, I enjoyed your discussion last week
on your theory that the cabaret tax might have played
(11:02):
the primary reason big bands dissolved and the music unfortunately died.
You mentioned the Great Musician Strike of nineteen forty two
to forty four, when union musicians were not allowed to
record for the labels, as another major cause of the
(11:22):
demise of the big band. I have read that one
label called the Hit Record continued to cut sides in
a situation that can only be regarded as underhanded. The
Genius record empresario who may also be regarded as shady.
(11:44):
Eli Oberstein might have been the ringleader in this plot.
It was speculated that Oberstein continued to release new records
during the band the band Excuse Me, contending that he
acquired these recordings from Mexico to distribute in the US.
(12:09):
He said bands crossed the border to make these recordings
to circumvent their involvement in the strike, But evidence exists
that selections were actually recorded in clandestine hotel room sessions
involving non union musicians right here in the USA. Can
(12:32):
you play a record from the Hit Record label that
was made during the record strike? Regular listener, I'm glad
I was able to submit this interesting piece of history
regarding the musician strike, and that signed Chuck Goosoff. Well,
(12:52):
thank you, Chuck. A very interesting historic and informative email.
To be sure, Chuck, I did a little research and
most of it certainly concurs with your version of events.
So let's play one from the Hit record label purportedly
(13:13):
recorded with non union musicians during the strike of nineteen
forty two to forty four.
Speaker 2 (13:23):
Holiday long Way the Reno Shine, she debard of the
MB nine.
Speaker 6 (13:29):
She's Magan History Working History shot lookout for the time,
sailing up there on the.
Speaker 13 (13:43):
Modern road.
Speaker 9 (13:48):
Gotta boy Bramcharlie, Charlie.
Speaker 5 (13:52):
The Marie.
Speaker 14 (13:54):
Rog is protecting Chary working overtime on the evening when
they gave.
Speaker 6 (14:01):
Her production, she was as fried as the girl could be.
That's something drew about Gred White and.
Speaker 5 (14:08):
Drew about Rosie Uh.
Speaker 6 (14:43):
On the day long when the raino shine. She's abode
of the seventy nine.
Speaker 15 (14:49):
She's made in.
Speaker 16 (14:50):
History working inctory, Rosie Uh the resent keep the bark,
look out for saving times, sitting up there so much.
Speaker 14 (15:10):
Charlie the Marie Rosie is protecting John working overtime on.
Speaker 9 (15:19):
When they gave the production.
Speaker 7 (15:34):
On the hit record label Rosie the Riveter by Alan
Miller and his orchestra with vocal quartet. That song, of course,
saluting the women who worked in military airplane factories and
were riveters during World War Two. So the hit records were,
(15:57):
as we just heard, if you were listening then, carefully
subpar in quality, performance and engineering. But that really didn't
matter at the time because these records did provide record
buyers with something they could not obtain anywhere else. That
(16:17):
obviously being newly produced big band recordings of various popular
song hits that emerged during the strike. To the best
of my knowledge and some of the research I did,
there really was no Alan Miller and his orchestra. An
(16:38):
article I read in the May twenty ninth, nineteen forty
three issue of Billboard magazine suggested that the name was fictitious.
So let's play one more on the Hit Record Label,
this one featuring Willie Kelly and his orchestra, with Tonight
I'm going to See Baby, that was recorded in nineteen
(17:02):
forty three.
Speaker 9 (18:06):
To night, I'm gonna see Baby.
Speaker 1 (18:12):
I'm gonna see baby tonight about night.
Speaker 17 (18:19):
I'll be.
Speaker 15 (18:22):
So happy when I'm.
Speaker 16 (18:24):
With just spending my time with that baby I'm mine.
Speaker 18 (18:32):
I'm so excited.
Speaker 6 (18:35):
I can hardly wait.
Speaker 19 (18:39):
Because I'm hoping maybe Baby's gonna name that certain day
to night.
Speaker 2 (18:49):
I'm gonna see baby, that wonderful baby who's gonna be mine.
Speaker 7 (19:31):
Now, this name was not fictitious. Willie Kelly was at
one time a trumpet player with Artie Shaw's first orchestra
in the late nineteen thirties. So again, thank you to
Chuck Goosa for your informative email about the Hit Record
Label and the infamous at that time, record pirate Eli Oberstein.
(19:58):
I'm Jeff Bressler, and you're listening to the One, the Only,
the original Make Believe Ballroom, broadcasting almost continuously since nineteen
thirty five, and now for you. I said a little
while ago that I was going to play a pretty
large string of music, and I will shortly for an explanation, though,
(20:20):
we go to sunny Tampa, Florida, where the producer emeritus
of the Make Believe Ballroom, the Maha of the monotone,
the platter pusher, the disk driver, the one the Only
Lenny from down the block.
Speaker 20 (20:37):
Hi, gang, Lenny from down the block, Here with my
record pick of the Week. Last week, my wife Cookie
told me if I didn't clean my home office, she
would throw me off the balcony. Since we live on
the first floor of our condo in Florida. I didn't
take her threat too seriously. I did decide to clean, though,
(20:57):
and I found a notebook that contained many of the
playlists Jeff has used on the program each week. In
the notebook was a list from twenty eighteen that, for
whatever reason, we never used. So this week, instead of
a record Pick of the Week, I present to you
many record picks of a week going back to August
(21:18):
of twenty eighteen.
Speaker 5 (22:15):
Everybody knows that's just the muddy wheeler.
Speaker 21 (22:20):
Bunny seemed like heaven on high where the moon is
shining rise, letting me dream away the night where the lazy.
Speaker 6 (22:29):
Weaver goes by, go away.
Speaker 3 (22:34):
Let us be.
Speaker 5 (22:36):
Just the reaver, you and beating.
Speaker 21 (22:41):
Everything is due all along the Mississippi. Hey don't want
as happy as I.
Speaker 6 (22:49):
Why never want to roam?
Speaker 5 (22:51):
Let me live and make my home where the lazy
reaper goes by, go away. Let us be.
Speaker 4 (23:19):
Just the river, you and me.
Speaker 21 (23:24):
Everything is due on along woman sip the bee. Hey
don't want us happy aside.
Speaker 5 (23:32):
While I never want to go. Let me live in
make my home.
Speaker 17 (23:37):
Lazy river goes by, Lazy river goes by, Lazy river goes.
Speaker 7 (23:48):
Bye, Where the lazy river goes by, from the twentieth
century Fox film Banjo on My Knee. We just heard
Roy Eldridge and his orchestra with a beautiful vocal by
Gladys Palmer, recorded on Vocalion Records in Chicago, Illinois, January
(24:08):
the twenty fifth, nineteen thirty seven, and that was the
first selection from Lenny from Down the blocks playlist that
he developed, but for whatever reason we never used. In
August of twenty and eighteen, you know.
Speaker 12 (25:33):
Glass we were made at bar each other. The range
your glass that we waited for each other. There we
agree fardally live to justice some of these theminies range
of glass, we get along together. Ranger Glass. We can
laugh at Norman whether bolds declare whatever they can see,
(25:59):
We're happy Angel glass. Just like two lovers on Victor
covers and white of Sun or Raine, we find Rawman's
Everything we meet is lover Lane glass. Lad, I guess
it's name. The flavor range of glass. Everything is down
(26:23):
a flavor every day we can say everything is Agent Glass.
Speaker 7 (27:45):
Benny Goodman All Star recording released by Columbia Records, October eighteenth,
nineteen thirty three. Ain't You Glad? And an All Star
recording indeed Benny Goodman on the clarinet, Jack T. Garden
did the vocal and played the trombone, Joe Sullivan on
the piano, Dick McDonough the guitar, Artie Bernstein bass, Jean
(28:10):
Croup of the drums, Manny Klein the trumpet, Charlie T.
Garden trumpet and author carl on the tenor sacks many
of those musical greats we have played separate recordings of
in recent weeks and months. Of course, Benny Goodman, Tea Garden, Krupa,
Joe Sullivan, and Dick McDonough, all heard on the Make
(28:34):
Believe Ballroom in recent vintage and another winning pick from
the recently discovered record list that Lenny from down the
Block had put together but never used for one of
our shows in August of twenty eighteen. And certainly kudos
in a big thanks to Lenny's wife Cookie for yelling
(28:58):
at him to keep his office clean, and that without
her screaming, Lenny most probably would have never the unearthed
this great list.
Speaker 4 (30:05):
They don't Don't, they don't.
Speaker 10 (31:57):
Charge?
Speaker 7 (32:26):
What'll I Do? Tommy Dorsey and his Orchestra, recorded in
New York City's RCA Studio Number two on March tenth,
nineteen thirty eight. Friends, thanks for being part of today's broadcast.
As Chuck Gousof did earlier, you can email me at
Jeff at MakeBelieve Ballroomradio dot com. That's Jeff at MakeBelieve
(32:49):
Ballroomradio dot com with your questions, comments or requests, as
we've done on past shows. You can even send me
a playlist of your top favorite from the Big Band
era and we'll share a few of those with our
wonderful audience. You can also go to make Believe Ballroom
(33:10):
podcast dot com. That's MakeBelieve Ballroom podcast dot com, where
you can hear past shows that have been archived. I
have close to probably two hundred shows going back around
five years or so. I'm trying to clean up earlier
shows that were of the vintage of the Lenny playlist
(33:31):
we are playing today. I always promised to do that,
but one day I will certainly fulfill that order for
past shows Make Believe Ballroom podcast dot com, make Believe
Ballroom podcast dot com, or you could also go to
your favorite podcast provider for that matter. Also on Make
(33:52):
Believe Ballroom podcast dot com, you can leave us not
an email, but a voicemail that I will be delighted
to play on the air, but not.
Speaker 3 (34:59):
Sorry.
Speaker 22 (35:00):
Then the dott, the mom, the tera, What.
Speaker 23 (37:09):
Is there to say?
Speaker 7 (37:11):
Bud Freeman and his Windy City five on Deco Records,
recorded in New York City, December the fourth, nineteen thirty five,
and another outstanding tune from a list of music we
never played, but was compiled for an August twenty eighteen
show by Lenny from Down the Block, our beloved producer emeritus.
Speaker 5 (38:05):
That couldn't tell me that, don't you? Or didn't don't.
Speaker 6 (38:33):
I couldn't do the moment The.
Speaker 7 (40:43):
Sunrise Serenade Glenn Gray and the Castloma Orchestra, recorded on
Decca Records in New York, February seventeenth, nineteen thirty nine.
Speaker 3 (41:03):
Every Star of bo Babe Me, the one I love,
sweet Suit, just You.
Speaker 23 (41:15):
And the Moon on High Maybe no thread?
Speaker 9 (41:21):
Why sweet suits.
Speaker 8 (41:26):
You?
Speaker 15 (41:30):
No one else seen.
Speaker 24 (41:33):
Ever has my dreams without you?
Speaker 23 (41:36):
Don't know what I do.
Speaker 3 (41:42):
In this heart of mind?
Speaker 9 (41:44):
You live all the time, Oh Suit, Just You?
Speaker 3 (42:18):
Tavera sweet Sue, Just You.
Speaker 7 (43:45):
Jimmy Lunceford and his Orchestra. Vocal and arrangement by cy Oliver.
Another deck or recording, this one from April to twelfth,
nineteen thirty eight, and coming to you from an unused
record playlist that we we're going to use on one
of our broadcasts of The Make Believe Ballroom in August
of twenty eighteen. And folks, I'm really enjoying this playlist.
(44:10):
Some great songs and quite Frankly, I'm trying to figure
out why we did not use these songs on a
broadcast in twenty eighteen. Perhaps could be Lenny was in
a foul mood that day and decided to change things around.
Might have been right around the time, come to think
(44:32):
of it, that he obtained a very expensive Cuban cigar
and unfortunately sat down on it here in the record
room of the Crystal studio, and he turned that cigar
into just a pile of loose tobacco leaves. Just speculating here,
(44:55):
I think now, looking at the big bull of a
clock on the wall here in that very same crystal studio,
we have time for some more music.
Speaker 24 (46:13):
There's a shadowy.
Speaker 19 (46:14):
Old Cabby that hangs round the square all into everyone there.
If you take your lady's heart and romancem why not
take a ride about in my Handsom says the shabby
old Cabby. An hour or two will pass.
Speaker 3 (46:32):
Very quickly for you.
Speaker 19 (46:34):
If my very weary beast never hurries, that's the very
very least of your worries.
Speaker 13 (46:41):
As he called giddiad to his horsey, you can kiss
a little wild with your girl. As he goes to
his horsey, you can water path, All that shabby old
Cabby that dried round the park, running along blue.
Speaker 6 (47:02):
If you have a little lady you Papa the call
for a Cabby to.
Speaker 7 (47:07):
Know Shabby old Cabby. Jan Sabbat and his orchestra vocal
(48:05):
by Phil Brido recorded also another one on Decca Records
on July the seventh, nineteen thirty nine.
Speaker 4 (49:15):
Baby anything.
Speaker 5 (49:22):
Anything as.
Speaker 6 (50:12):
At something my mom My.
Speaker 23 (50:40):
Nice Stomping Jones.
Speaker 7 (52:05):
Steve Ellington and his famous orchestra recorded an RCA Victor
in Chicago on January the ninth, nineteen thirty four. And
looking at the clock, I have time for another. This one, though,
was not on Lenny's August twenty eighteen list. How about
a little blues Jimmy Rushing style.
Speaker 9 (53:32):
Good morning blues blues? How do you do? Good morning
blues blues?
Speaker 3 (53:43):
How do you do?
Speaker 18 (53:49):
Maybe I feel all right when I come to rad you.
Maybe Christmas die and I want to see Sonny Claws
babies Christmas time and I want to see Sonny Claws.
Speaker 9 (54:15):
Don't show me my pretty baby.
Speaker 6 (54:18):
I'll break all of the law.
Speaker 18 (54:24):
Sonny Claus, Sonny Claws, listen to my please, Donny Claw,
Sonny Claws listen to my Please don't send me nothing
for Christmas.
Speaker 9 (54:44):
Put my baby back to me.
Speaker 7 (55:27):
Good morning Blues Count Basie and his Orchestra on Decca Records,
recorded in New York City on the ninth of August
nineteen thirty seven. So, folks, big thanks to Lenny for
finding that great playlist from August of twenty eighteen amongst
(55:49):
the debris in his office in Florida. Folks, we are
out of time. I'm Jeff at Makebelie Ballroom Radio dot com.
Effort make Believe Ballroom Radio dot com. Please get in
touch with me. So until next week, this has been
Jeff Presler.
Speaker 24 (56:15):
Let's DWN and imaginal for rooms isn Make me leave
ball room.
Speaker 13 (56:24):
Let's durn.
Speaker 18 (56:26):
Let's durn.
Speaker 24 (56:28):
It will double my chances. I can see it your
glances room man, for while we're slaying and the man
is playing music. Tammy sharp you goro tender sweetly, surrender
you my willing RM.
Speaker 9 (56:46):
Let's DWN.
Speaker 15 (56:48):
So it's only a small room, you know, make me
leave ball room. Let's donatation.
Speaker 5 (57:40):
Level.
Speaker 23 (58:00):
You have no bush
It's make Believe Ballroom time.
Speaker 2 (00:15):
Put all your cares away. All the bands are here
to bring.
Speaker 3 (00:22):
Good cheer your way.
Speaker 1 (00:25):
It's make belief Ballom time and free to everyone.
Speaker 2 (00:33):
It's no time to friend your Dalis.
Speaker 3 (00:36):
Said Bamba.
Speaker 4 (00:39):
Yours.
Speaker 2 (00:40):
Close your eyes and visualize in your solitude.
Speaker 1 (00:46):
Your favorite bands are on this stance and mister Miller,
but you in the mood. It's make Believe Ballom time.
We are a sweet romance.
Speaker 5 (01:00):
As you make it.
Speaker 6 (01:01):
Bob, come on, Jole, last, Dass.
Speaker 3 (01:04):
Last, Hello world.
Speaker 7 (01:07):
I'm Jeff Bresler, 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 nineteen forties. Whether you're listening on the radio
via great affiliates like Jazz ninety point one WGMC in Rochester,
(01:28):
New York, or on a podcast or on internet radio
in the United Kingdom, please get ready as I spin
for you some amazing big band jazz, swing, blues and
boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom,
broadcasting almost continuously since nineteen thirty five, and friends. We
(01:53):
have a show just packed with music today. Let's warm
things up in the study video to get this engine
up to pressure.
Speaker 8 (02:57):
Swing mister johnyr swing mister Charlie. I don't care what
to just make it a hortoon. Play a normal tune
of a theme that's new, and don't you hit is
harder than anything ever since time begin. Swing mister Charlie,
(03:21):
or swing mister Charlie. No one can swing in live
you do.
Speaker 3 (03:29):
I can't get enough of.
Speaker 9 (03:32):
That swingable rhythm.
Speaker 8 (03:34):
Stuff, Swing mister Charlie. Swing Oh, Swing mister Charlie, or
(04:26):
swing mister Charlie. I don't care what to just make
it a hot tune. Play a borrow tune of a
theme that's snoop, and you don't you hit? His hart
than anything I've heard since time began. Swing mister Charlie,
(04:46):
or swing mister Charlie. No one gets swingy.
Speaker 3 (04:53):
You do.
Speaker 10 (04:55):
I can't get enough of the.
Speaker 8 (04:58):
Swing of over thom stuff, Swing mister Charmie, Cling mister John.
Speaker 7 (05:12):
On Decca Records, Swing mister Charlie. You might have recognized
the vocalist, Yes, of course it was Judy Garland, who
was just thirteen when she recorded This Swinger with Bob
Crosby and his band Swing Mister Charlie, recorded on June
the twelfth, nineteen thirty six, in New York City. How
(05:35):
about another Crosby Garland collaboration that came out of that
very same Decca recording session, Sama.
Speaker 11 (05:50):
The Home of Sweet Romance Samo. When you had a glance,
Samo gives heavy feed a chest your fam just like
a cleaning line. Your lips are woman, sweet as wine.
Your cheeks all swarm and close to mine.
Speaker 5 (06:10):
Be bor.
Speaker 3 (06:12):
Have my heart is singing while the bad is swinging.
Speaker 8 (06:18):
Never tired of romping stopping with you at the Savoy
watch im perfect holiday Saboi where we can glide and
swing Savoian.
Speaker 11 (06:30):
Let me stump away.
Speaker 8 (06:32):
With you.
Speaker 10 (07:20):
Savoy Tavot table your mom.
Speaker 3 (07:32):
Just like a cringing mine.
Speaker 8 (07:34):
Your lips a woman sweet as wine, Your cheeks were
salted close to mine.
Speaker 3 (07:41):
Neiby, oh all.
Speaker 6 (07:44):
My heart is singing while the band he's swinging.
Speaker 8 (07:49):
Never tired of robbin stopping when you have the Savoy
but your.
Speaker 10 (07:57):
Sabot Savon.
Speaker 7 (08:06):
Stomping at the Savoy Vocal by thirteen year old Judy
Garland Orchestra conducted by Bob Crosby recorded in New York
June the twelfth, nineteen thirty six. And folks, you know,
there's a great story that's told about this recording of
Stomping at the Savoy. This was Judy's very first commercial
(08:30):
record release, along with swing mister Charlie. So, as the
story goes, Judy Judy Garland was assigned by Deck of
Records to sit in with the Bob Crosby band for
a couple of tracks. But Bob Crosby's band manager, Gil Rodin,
(08:51):
who also by the way, played sacks with the band, well,
he wasn't at all impressed with Judy, and he went
to Deck and told them that the Crosby name should
not be included on the label. Now, in addition to
not being enamored by Garland, Gil felt it was a
(09:12):
bad image for the band to be recording with a
oh with a little thirteen year old squirt. So the
record label for Stompin' at Savoy, the Decca record label
simply reads Stompin' at the Savoy, Judy Garland, thirteen years old.
(09:33):
Very interesting story there about Judy Garland and Bob Crosby,
and now friends.
Speaker 9 (09:42):
Gonna smile and say I hope you're feeling better.
Speaker 6 (09:50):
And load with loud a way.
Speaker 12 (09:58):
I'm going with that.
Speaker 7 (10:15):
Yes, we get letters each week in the form of
emails Jeff at make Believe Ballroom Radio dot com. That's
Jeff at make Believe Ballroom Radio dot com to reach me.
And today I'm going to read only one email since
I am going to put a pretty large string of
music together in just a few minutes. The email that
(10:38):
I have in front of me, and it's not in
front of me, it's wait a second, here it is
the email boy is from Chuck Goosoff, who listens via iHeartRadio,
and he writes, Jeff, I enjoyed your discussion last week
on your theory that the cabaret tax might have played
(11:02):
the primary reason big bands dissolved and the music unfortunately died.
You mentioned the Great Musician Strike of nineteen forty two
to forty four, when union musicians were not allowed to
record for the labels, as another major cause of the
(11:22):
demise of the big band. I have read that one
label called the Hit Record continued to cut sides in
a situation that can only be regarded as underhanded. The
Genius record empresario who may also be regarded as shady.
(11:44):
Eli Oberstein might have been the ringleader in this plot.
It was speculated that Oberstein continued to release new records
during the band the band Excuse Me, contending that he
acquired these recordings from Mexico to distribute in the US.
(12:09):
He said bands crossed the border to make these recordings
to circumvent their involvement in the strike, But evidence exists
that selections were actually recorded in clandestine hotel room sessions
involving non union musicians right here in the USA. Can
(12:32):
you play a record from the Hit Record label that
was made during the record strike? Regular listener, I'm glad
I was able to submit this interesting piece of history
regarding the musician strike, and that signed Chuck Goosoff. Well,
(12:52):
thank you, Chuck. A very interesting historic and informative email.
To be sure, Chuck, I did a little research and
most of it certainly concurs with your version of events.
So let's play one from the Hit record label purportedly
(13:13):
recorded with non union musicians during the strike of nineteen
forty two to forty four.
Speaker 2 (13:23):
Holiday long Way the Reno Shine, she debard of the
MB nine.
Speaker 6 (13:29):
She's Magan History Working History shot lookout for the time,
sailing up there on the.
Speaker 13 (13:43):
Modern road.
Speaker 9 (13:48):
Gotta boy Bramcharlie, Charlie.
Speaker 5 (13:52):
The Marie.
Speaker 14 (13:54):
Rog is protecting Chary working overtime on the evening when
they gave.
Speaker 6 (14:01):
Her production, she was as fried as the girl could be.
That's something drew about Gred White and.
Speaker 5 (14:08):
Drew about Rosie Uh.
Speaker 6 (14:43):
On the day long when the raino shine. She's abode
of the seventy nine.
Speaker 15 (14:49):
She's made in.
Speaker 16 (14:50):
History working inctory, Rosie Uh the resent keep the bark,
look out for saving times, sitting up there so much.
Speaker 14 (15:10):
Charlie the Marie Rosie is protecting John working overtime on.
Speaker 9 (15:19):
When they gave the production.
Speaker 7 (15:34):
On the hit record label Rosie the Riveter by Alan
Miller and his orchestra with vocal quartet. That song, of course,
saluting the women who worked in military airplane factories and
were riveters during World War Two. So the hit records were,
(15:57):
as we just heard, if you were listening then, carefully
subpar in quality, performance and engineering. But that really didn't
matter at the time because these records did provide record
buyers with something they could not obtain anywhere else. That
(16:17):
obviously being newly produced big band recordings of various popular
song hits that emerged during the strike. To the best
of my knowledge and some of the research I did,
there really was no Alan Miller and his orchestra. An
(16:38):
article I read in the May twenty ninth, nineteen forty
three issue of Billboard magazine suggested that the name was fictitious.
So let's play one more on the Hit Record Label,
this one featuring Willie Kelly and his orchestra, with Tonight
I'm going to See Baby, that was recorded in nineteen
(17:02):
forty three.
Speaker 9 (18:06):
To night, I'm gonna see Baby.
Speaker 1 (18:12):
I'm gonna see baby tonight about night.
Speaker 17 (18:19):
I'll be.
Speaker 15 (18:22):
So happy when I'm.
Speaker 16 (18:24):
With just spending my time with that baby I'm mine.
Speaker 18 (18:32):
I'm so excited.
Speaker 6 (18:35):
I can hardly wait.
Speaker 19 (18:39):
Because I'm hoping maybe Baby's gonna name that certain day
to night.
Speaker 2 (18:49):
I'm gonna see baby, that wonderful baby who's gonna be mine.
Speaker 7 (19:31):
Now, this name was not fictitious. Willie Kelly was at
one time a trumpet player with Artie Shaw's first orchestra
in the late nineteen thirties. So again, thank you to
Chuck Goosa for your informative email about the Hit Record
Label and the infamous at that time, record pirate Eli Oberstein.
(19:58):
I'm Jeff Bressler, and you're listening to the One, the Only,
the original Make Believe Ballroom, broadcasting almost continuously since nineteen
thirty five, and now for you. I said a little
while ago that I was going to play a pretty
large string of music, and I will shortly for an explanation, though,
(20:20):
we go to sunny Tampa, Florida, where the producer emeritus
of the Make Believe Ballroom, the Maha of the monotone,
the platter pusher, the disk driver, the one the Only
Lenny from down the block.
Speaker 20 (20:37):
Hi, gang, Lenny from down the block, Here with my
record pick of the Week. Last week, my wife Cookie
told me if I didn't clean my home office, she
would throw me off the balcony. Since we live on
the first floor of our condo in Florida. I didn't
take her threat too seriously. I did decide to clean, though,
(20:57):
and I found a notebook that contained many of the
playlists Jeff has used on the program each week. In
the notebook was a list from twenty eighteen that, for
whatever reason, we never used. So this week, instead of
a record Pick of the Week, I present to you
many record picks of a week going back to August
(21:18):
of twenty eighteen.
Speaker 5 (22:15):
Everybody knows that's just the muddy wheeler.
Speaker 21 (22:20):
Bunny seemed like heaven on high where the moon is
shining rise, letting me dream away the night where the lazy.
Speaker 6 (22:29):
Weaver goes by, go away.
Speaker 3 (22:34):
Let us be.
Speaker 5 (22:36):
Just the reaver, you and beating.
Speaker 21 (22:41):
Everything is due all along the Mississippi. Hey don't want
as happy as I.
Speaker 6 (22:49):
Why never want to roam?
Speaker 5 (22:51):
Let me live and make my home where the lazy
reaper goes by, go away. Let us be.
Speaker 4 (23:19):
Just the river, you and me.
Speaker 21 (23:24):
Everything is due on along woman sip the bee. Hey
don't want us happy aside.
Speaker 5 (23:32):
While I never want to go. Let me live in
make my home.
Speaker 17 (23:37):
Lazy river goes by, Lazy river goes by, Lazy river goes.
Speaker 7 (23:48):
Bye, Where the lazy river goes by, from the twentieth
century Fox film Banjo on My Knee. We just heard
Roy Eldridge and his orchestra with a beautiful vocal by
Gladys Palmer, recorded on Vocalion Records in Chicago, Illinois, January
(24:08):
the twenty fifth, nineteen thirty seven, and that was the
first selection from Lenny from Down the blocks playlist that
he developed, but for whatever reason we never used. In
August of twenty and eighteen, you know.
Speaker 12 (25:33):
Glass we were made at bar each other. The range
your glass that we waited for each other. There we
agree fardally live to justice some of these theminies range
of glass, we get along together. Ranger Glass. We can
laugh at Norman whether bolds declare whatever they can see,
(25:59):
We're happy Angel glass. Just like two lovers on Victor
covers and white of Sun or Raine, we find Rawman's
Everything we meet is lover Lane glass. Lad, I guess
it's name. The flavor range of glass. Everything is down
(26:23):
a flavor every day we can say everything is Agent Glass.
Speaker 7 (27:45):
Benny Goodman All Star recording released by Columbia Records, October eighteenth,
nineteen thirty three. Ain't You Glad? And an All Star
recording indeed Benny Goodman on the clarinet, Jack T. Garden
did the vocal and played the trombone, Joe Sullivan on
the piano, Dick McDonough the guitar, Artie Bernstein bass, Jean
(28:10):
Croup of the drums, Manny Klein the trumpet, Charlie T.
Garden trumpet and author carl on the tenor sacks many
of those musical greats we have played separate recordings of
in recent weeks and months. Of course, Benny Goodman, Tea Garden, Krupa,
Joe Sullivan, and Dick McDonough, all heard on the Make
(28:34):
Believe Ballroom in recent vintage and another winning pick from
the recently discovered record list that Lenny from down the
Block had put together but never used for one of
our shows in August of twenty eighteen. And certainly kudos
in a big thanks to Lenny's wife Cookie for yelling
(28:58):
at him to keep his office clean, and that without
her screaming, Lenny most probably would have never the unearthed
this great list.
Speaker 4 (30:05):
They don't Don't, they don't.
Speaker 10 (31:57):
Charge?
Speaker 7 (32:26):
What'll I Do? Tommy Dorsey and his Orchestra, recorded in
New York City's RCA Studio Number two on March tenth,
nineteen thirty eight. Friends, thanks for being part of today's broadcast.
As Chuck Gousof did earlier, you can email me at
Jeff at MakeBelieve Ballroomradio dot com. That's Jeff at MakeBelieve
(32:49):
Ballroomradio dot com with your questions, comments or requests, as
we've done on past shows. You can even send me
a playlist of your top favorite from the Big Band
era and we'll share a few of those with our
wonderful audience. You can also go to make Believe Ballroom
(33:10):
podcast dot com. That's MakeBelieve Ballroom podcast dot com, where
you can hear past shows that have been archived. I
have close to probably two hundred shows going back around
five years or so. I'm trying to clean up earlier
shows that were of the vintage of the Lenny playlist
(33:31):
we are playing today. I always promised to do that,
but one day I will certainly fulfill that order for
past shows Make Believe Ballroom podcast dot com, make Believe
Ballroom podcast dot com, or you could also go to
your favorite podcast provider for that matter. Also on Make
(33:52):
Believe Ballroom podcast dot com, you can leave us not
an email, but a voicemail that I will be delighted
to play on the air, but not.
Speaker 3 (34:59):
Sorry.
Speaker 22 (35:00):
Then the dott, the mom, the tera, What.
Speaker 23 (37:09):
Is there to say?
Speaker 7 (37:11):
Bud Freeman and his Windy City five on Deco Records,
recorded in New York City, December the fourth, nineteen thirty five,
and another outstanding tune from a list of music we
never played, but was compiled for an August twenty eighteen
show by Lenny from Down the Block, our beloved producer emeritus.
Speaker 5 (38:05):
That couldn't tell me that, don't you? Or didn't don't.
Speaker 6 (38:33):
I couldn't do the moment The.
Speaker 7 (40:43):
Sunrise Serenade Glenn Gray and the Castloma Orchestra, recorded on
Decca Records in New York, February seventeenth, nineteen thirty nine.
Speaker 3 (41:03):
Every Star of bo Babe Me, the one I love,
sweet Suit, just You.
Speaker 23 (41:15):
And the Moon on High Maybe no thread?
Speaker 9 (41:21):
Why sweet suits.
Speaker 8 (41:26):
You?
Speaker 15 (41:30):
No one else seen.
Speaker 24 (41:33):
Ever has my dreams without you?
Speaker 23 (41:36):
Don't know what I do.
Speaker 3 (41:42):
In this heart of mind?
Speaker 9 (41:44):
You live all the time, Oh Suit, Just You?
Speaker 3 (42:18):
Tavera sweet Sue, Just You.
Speaker 7 (43:45):
Jimmy Lunceford and his Orchestra. Vocal and arrangement by cy Oliver.
Another deck or recording, this one from April to twelfth,
nineteen thirty eight, and coming to you from an unused
record playlist that we we're going to use on one
of our broadcasts of The Make Believe Ballroom in August
of twenty eighteen. And folks, I'm really enjoying this playlist.
(44:10):
Some great songs and quite Frankly, I'm trying to figure
out why we did not use these songs on a
broadcast in twenty eighteen. Perhaps could be Lenny was in
a foul mood that day and decided to change things around.
Might have been right around the time, come to think
(44:32):
of it, that he obtained a very expensive Cuban cigar
and unfortunately sat down on it here in the record
room of the Crystal studio, and he turned that cigar
into just a pile of loose tobacco leaves. Just speculating here,
(44:55):
I think now, looking at the big bull of a
clock on the wall here in that very same crystal studio,
we have time for some more music.
Speaker 24 (46:13):
There's a shadowy.
Speaker 19 (46:14):
Old Cabby that hangs round the square all into everyone there.
If you take your lady's heart and romancem why not
take a ride about in my Handsom says the shabby
old Cabby. An hour or two will pass.
Speaker 3 (46:32):
Very quickly for you.
Speaker 19 (46:34):
If my very weary beast never hurries, that's the very
very least of your worries.
Speaker 13 (46:41):
As he called giddiad to his horsey, you can kiss
a little wild with your girl. As he goes to
his horsey, you can water path, All that shabby old
Cabby that dried round the park, running along blue.
Speaker 6 (47:02):
If you have a little lady you Papa the call
for a Cabby to.
Speaker 7 (47:07):
Know Shabby old Cabby. Jan Sabbat and his orchestra vocal
(48:05):
by Phil Brido recorded also another one on Decca Records
on July the seventh, nineteen thirty nine.
Speaker 4 (49:15):
Baby anything.
Speaker 5 (49:22):
Anything as.
Speaker 6 (50:12):
At something my mom My.
Speaker 23 (50:40):
Nice Stomping Jones.
Speaker 7 (52:05):
Steve Ellington and his famous orchestra recorded an RCA Victor
in Chicago on January the ninth, nineteen thirty four. And
looking at the clock, I have time for another. This one, though,
was not on Lenny's August twenty eighteen list. How about
a little blues Jimmy Rushing style.
Speaker 9 (53:32):
Good morning blues blues? How do you do? Good morning
blues blues?
Speaker 3 (53:43):
How do you do?
Speaker 18 (53:49):
Maybe I feel all right when I come to rad you.
Maybe Christmas die and I want to see Sonny Claws
babies Christmas time and I want to see Sonny Claws.
Speaker 9 (54:15):
Don't show me my pretty baby.
Speaker 6 (54:18):
I'll break all of the law.
Speaker 18 (54:24):
Sonny Claus, Sonny Claws, listen to my please, Donny Claw,
Sonny Claws listen to my Please don't send me nothing
for Christmas.
Speaker 9 (54:44):
Put my baby back to me.
Speaker 7 (55:27):
Good morning Blues Count Basie and his Orchestra on Decca Records,
recorded in New York City on the ninth of August
nineteen thirty seven. So, folks, big thanks to Lenny for
finding that great playlist from August of twenty eighteen amongst
(55:49):
the debris in his office in Florida. Folks, we are
out of time. I'm Jeff at Makebelie Ballroom Radio dot com.
Effort make Believe Ballroom Radio dot com. Please get in
touch with me. So until next week, this has been
Jeff Presler.
Speaker 24 (56:15):
Let's DWN and imaginal for rooms isn Make me leave
ball room.
Speaker 13 (56:24):
Let's durn.
Speaker 18 (56:26):
Let's durn.
Speaker 24 (56:28):
It will double my chances. I can see it your
glances room man, for while we're slaying and the man
is playing music. Tammy sharp you goro tender sweetly, surrender
you my willing RM.
Speaker 9 (56:46):
Let's DWN.
Speaker 15 (56:48):
So it's only a small room, you know, make me
leave ball room. Let's donatation.
Speaker 5 (57:40):
Level.
Speaker 23 (58:00):
You have no bush
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