June 6, 2025 • 58 mins
This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - we take a close look at a song that won an Academy Award in 1937, but more importantly, holds a musical world record that has never been broken! Also, listeners' emails and 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.
The Make Believe Ballroom is broadcast on member-supported Jazz 90.1 WGMC in Rochester, NY, as well as on other fine radio affiliates across the United States and the United Kingdom, and is also available as a podcast.
The Make Believe Ballroom is broadcast on member-supported Jazz 90.1 WGMC in Rochester, NY, as well as on other fine radio affiliates across the United States and the United Kingdom, and is also available as a podcast.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Time kets make believe falling time, But all your cares away,
all the bands are here to bring good cheer your way.
(00:25):
It's make really falling time and free to everyone. It's
no time to friend your dalis said by mine.
Speaker 2 (00:39):
Suppose your eyes.
Speaker 3 (00:41):
And visual lie in your solitude.
Speaker 1 (00:45):
Your favorite bands are on the stand.
Speaker 4 (00:49):
And mister Miller, what you're in the mood?
Speaker 1 (00:51):
It's make believe falling time. We are of sweet Roman.
Speaker 2 (00:59):
Is you make believe? Come on, Joe.
Speaker 5 (01:02):
Last, Das Last, Hello World, 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 today on the radio via great affiliates like
(01:23):
Jazz ninety point one WGMC in Rochester, New York, or
maybe on a podcast or even on internet radio in
the United Kingdom, anyway you've arrived. I am delighted as
I get ready to spin for you some amazing big
band jazz, swing, blues and boogie woogie classics. Folks, you're
(01:45):
listening to the Make Believe Ballroom broadcasting almost continuously since
nineteen thirty five. Once again, welcome one and all into
the Crystal Studio. I've promised our listener in the United
Kingdom that I would play at least one British big
band orchestra per show some weeks, though unfortunately I have
(02:10):
to admit I'm neglect so to make sure I cover
my obligations, here for you to open the show is
one Scott Woods and his six swingers.
Speaker 6 (03:14):
Swinging high, swinging low every night and day on the
goals making door. Got no time for player that Sammy
the Wonder Boy still pend us the realm of God.
Hear him more, hear him go, but just this way say?
(03:37):
And that guy got personality and the cute old ragionality
he's telling with Rudy Balley. He's a virtuo. So under me,
little Bolo when he plays and oh go off, wasn't
mine the keys that remind you of the Japanese Saint
Louis to drive his groove we went and placed by
Sammy Dack's uphone. He's gonna wrong, he can't start, sees
(04:01):
the names go all of passionato when he plays his
oblega medicos who speaking Bolton. He's got a swell as
ben and patient for a creation and his name Dammy.
Speaker 2 (04:15):
That's the phone.
Speaker 5 (05:28):
Recorded on Columbia Records in London on June the second,
nineteen thirty six. That was Sammy Saxophone, Scott Woods and
his six Swingers. As I honor my commitment to presenting
you with at least one British big band orchestra per week.
George Scott Woods, the band leader we just heard he
(05:51):
was a very popular musician in the United Kingdom. He
was a Scottish born pianist, arranger and bandleader. Played the
accordion and by coincidence with George scott Wood Scottish heritage.
Another segment a little later on in the program today
(06:11):
will also key in on Scotland. I didn't even think
of that when I was putting the playlist together, but
that will be later. And here in the present I
think I will just remain in the United Kingdom with
this selection.
Speaker 3 (08:33):
Being something.
Speaker 5 (09:19):
On Carlophone Records recorded in London on August nineteenth, nineteen
forty three. We just heard the beloved song Ida Sweet
as Apple Cider, the Eddie Cantor standard presented to you
today by one Harry Parry and his radio sextet. Harry
(09:42):
Parry was a Welsh born clarinetist and bandleader. And I'm
sure you probably heard, as I did, a little Benny
Goodman in his style. Perhaps so two big band orchestras
from the United Kingdom to get things underway here today
on the Believe Ballroom. And before I forget, I just
(10:04):
wanted to mention that I discussed a few weeks back
the evolution of how folks listened to music. Records were
played on the gramophone as the primary way to listen
until the late nineteen twenties when radio started to become
the predominant way people would enjoy the music of the times. Now,
(10:30):
another popular way to listen to music was in one's
own paller and in order to hear a song like
Ida Sweet as Apple Cider, which was first recorded in
nineteen twenty four, many folks bought the sheet music of
the song to play on the piano, usually in families
(10:53):
at that time, families that could afford a piano, many
members of the family could play at least the piano,
if not multiple instruments. So it said that when the
song was released in sheet music form, in nineteen twenty one.
Over the next several years, a half million copies of
(11:18):
the Eddie Munson Jack Leonard tune was sold. And my
own discussion here on sheet music, it's piqued my own interest.
If you give me a second, I want to google
what the number one selling piece of sheet music of
(11:38):
all time was. Let's see if we can come up
with that answer. And I'll do that, do the research
while I play this song.
Speaker 7 (12:01):
Don't know.
Speaker 8 (12:06):
Anything You don't It's.
Speaker 2 (13:36):
To me.
Speaker 5 (13:44):
Very Recorded in New York on the twenty first of
(14:59):
January nineteen thirty eight on Columbia Records. Johnny Dodds and
His Chicago Boys twenty ninth and Dearborn Johnny Dodds was
one of the greatest clarinetists of the nineteen twenties, especially
when it came to the New Orleans style. He worked
(15:20):
with most of the major hot jazz bands of the era.
Dodds was in Kid Orley's, King Oliver's, and Louis Armstrong's bands.
Now Johnny Johnny Dodds had a drummer brother that was
called Baby Dodds, and they had a great but sometimes
(15:44):
contentious sibling rivalry, but ended up joining forces for a
while as an important part of Louis Armstrong's classic Hot
five and Hot seven recording sessions that he did for
o K Records. Johnny Dodds loved Chicago and he was
(16:04):
not one to travel too much, so he really didn't
get the credit he deserved, at least I feel he
deserves as a top clarinetist. I mentioned Baby Let's play
One for You with him featured on the drums.
Speaker 9 (17:00):
M M.
Speaker 8 (17:18):
Think they.
Speaker 7 (17:24):
Don't the.
Speaker 5 (17:34):
First Baby Dodds and his wonderful snare drumming from an
(18:48):
album called drum Parade. I think if I'm not mistaken,
and I don't have the information from that album in
front of me, but it sure sounds like Albert Nicholas
was playing the trump at the great Albert Nicholas. I'm
Jeff Bresler, and you're listening to the one, the only,
the original Make Believe Ballroom broadcasting almost continuously since nineteen
(19:11):
thirty five, and it's certainly an honor to host this program,
a radio show that has seen the likes of al Jarvis, Martin, Block,
William B. Williams, and the legendary Steve Allen all share
this seat. So certainly an honor. I could be reached
at Jeff at make Believe Ballroom Radio dot com. That's
Jeff at MakeBelieve Ballroom Radio dot com. And in just
(19:33):
a moment a few folks who have reached out to
the show will be featured an email and a voicemail
coming your way shortly. But now, I said before the
Dodds Brothers played for us, that I was going to
check on which song sold the most copies of sheet music,
(19:55):
and Mike Googling has come up with a song named Sweet,
composed by Harry Owens for the nineteen thirty seven film
Waka Ki Wedding. It won the Academy Award for Best
Original Song, and de Bing Crosby's record of that song
(20:16):
became one of the biggest hits of nineteen thirty seven.
Now it is said, and I checked this out a
few times, that the sheet music to Sweetlilani sold over.
Get ready for this fifty four million copies.
Speaker 10 (20:43):
Sweetly Long, Heavenly Long, fashq sweat.
Speaker 8 (21:01):
Lolly Earth.
Speaker 4 (21:03):
Then she plays name in a Bomay lordy.
Speaker 7 (21:11):
It was the star on you.
Speaker 10 (21:18):
Sweet lay Loney, heaven lay Loma.
Speaker 7 (21:28):
Why me lookar andized fortunes.
Speaker 11 (21:36):
Lolly Earth, you.
Speaker 12 (21:38):
Are my paraized complete.
Speaker 13 (21:44):
Lolly.
Speaker 3 (21:46):
You are my dream Come.
Speaker 11 (21:58):
Sweetly Lody, Heavenly.
Speaker 4 (22:03):
Fo Tropic scars are jealous as they shine my sweet
Clay Lovely. I think they're jealous of.
Speaker 13 (22:21):
Your blue eyes, Lovely lay Lon. Jealous because your sweet
lay Lord, Heavenly Flo.
Speaker 14 (22:44):
I dream of paradise. Hold my sweet name. You are
my paradise compleat.
Speaker 13 (22:59):
Lovely you are my.
Speaker 7 (23:05):
Love.
Speaker 14 (23:27):
You arema paradise home Leader. Lovely, you are my dream.
Speaker 5 (23:41):
Cah on Decca Records. Sweet Lalani by Bing Crosby with
Lonnie McIntyre and his Hawaiians, recorded in Los Angeles, California,
February the third, nineteen thirty seven. In addition to winning
(24:04):
the Academy Award, this was a number one record on
the Billboard Charts four in nineteen thirty seven. And now
I am literally scratching my scratching my head, and Dylan
here in the studio is laughing because that's I really
am scratching my head, because this whole thing's a little bizarre.
(24:24):
If you ask me, I told you I double checked.
The sheet music did indeed sell in the vicinity of
fifty four million copies. Now, the opening to the song
is quite odd since Bing Crosby was the number one
singer on the whole planet at the time in nineteen
thirty seven, and the opening vocal was not by Bing
(24:45):
by by Lannie McIntyre until Bing joined in. And now
I'm reading and this makes me certain that I'm not nuts.
I'm reading some back on this song, so it says
Les Paul, a close friend of Crosby, said in an
interview that Jack Capp, founder of the American Decca record Company,
(25:11):
and to Bing Crosby, they had an ongoing disagreement about
having Lannie McIntyre sing the first half of the recording.
And to make it even more odd, I also mentioned
earlier that this song, Sweet Leilani, in addition to being
number one on Billboard, was also the choice for the
(25:33):
Academy Award for Best Song in nineteen thirty seven. Let
me now, because I'm starting to get obsessed with this,
so bear with me. I'm looking now to see who
the competition was against Sweetlilani for Best Song in thirty seven. Amazing.
(25:56):
Let me see if I have it on the playlist
and I do this, friends, is the song that was
beat by Sweet Lailani for the Academy Award.
Speaker 11 (27:45):
The way you wear your hat, the way you sip
your teeth, the memory of all oh oh, They can't
take that away from me. The way your smile just means,
(28:07):
the way you sing off keys, the way you haunt
my dreams. No, no, they can't take that away from me.
We may never never.
Speaker 15 (28:24):
Meet again, flung a bumpy road to love, but I'll
always always keep the memory.
Speaker 11 (28:37):
The way you hold your n the way we dance
still free, the way you change my life. No, no,
they can't take.
Speaker 4 (28:53):
That away from me.
Speaker 11 (28:54):
No, they can't take that all.
Speaker 5 (28:58):
Away from the film. Shall we Dance on Brunswick Records.
They can't take that away from me. By the Gershwin
Brothers vocal by Fred Astaire Orchestra conducted by Johnny Green
(29:24):
and recorded in Los Angeles, March fourteenth, nineteen thirty seven. Amazing,
totally bizarro, as we just delved into the history and
I don't even remember how we began. Yeah, by looking
at which song solo most sheet music in history, So
in essence, they did take it away from them, the
(29:47):
Gershwin Brothers, who, in my humble opinion, should have won
the Academy Award for they can't take that away from
me in nineteen thirty seven. Time for me to stop
foaming now by playing.
Speaker 7 (30:03):
This letters letters.
Speaker 5 (30:16):
Ay, yes, we get many letters in the form of emails,
and occasionally a brave soular two still laughing about that record,
will step forward and up to the mic by sending
me a voice email to play on the show. All
you have to do for that is go to Make
Believe Ballroom Podcast dot com. Make Believe Ballroom podcast dot Com,
(30:40):
where I archive past shows. Go into the lower right
hand corner of the web page. You'll see a microphone icon.
Press it and their record away with your comments and requests.
So for you both comment and request from a listener
via the voicemail microphone that I just mentioned.
Speaker 16 (31:02):
I tuned into the show where you were deciding if
an email you received from someone named tam was from
a male or a female listener. You said tam could
be short for Tammy as a woman's name, or tam
o'shanner as of the name of a man. To assure
us that tam O'shanner was a male, you referred to
(31:25):
the character created by Robert Burns, the Scottish poet. The
name Tam is actually short for Thomas. The Tommy Dorsey
song Coming through the Rye used lyrics from a Robert
Burns poem. Can you humor me by playing that record? Thanks?
(31:45):
It's Neil Reid here.
Speaker 5 (31:47):
Thank you Neil Reid. You are both a gentleman and
a scholar. So I am delighted and honored to play
that record for you.
Speaker 12 (32:01):
Baaaaaaamaakky. If a body meets another body coming.
Speaker 17 (33:15):
Through the ride, if fy kiss and all the body
need a body.
Speaker 12 (33:23):
Cry, every lady has her lighty plain.
Speaker 7 (33:28):
I say, hey, I.
Speaker 3 (33:31):
All the life.
Speaker 17 (33:33):
They smile on me well, coming through the ride. If
(34:06):
the body need the body, come to the if the body,
if the body need a body crime.
Speaker 5 (34:25):
Coming through the Rye Tommy Dorsey and his orchestra, vocal
by Edith Wright, lyrics by the Scottish poet Robert Burns,
who was born in seventeen fifty nine and died in
seventeen ninety six. So I'm sure, I'm very confident that
(34:45):
he wasn't at the Victor Records recording session on February
the tenth, nineteen thirty eight, New York City. Possibly they
are in spirit, but not in the flesh. But with
sweet Leilani winning the Academy Award, anything is and was possible.
So here let's get back to Neil's excellent voicemail. So
(35:11):
here's an interesting fact as the story goes. After Benny
Goodman managed to beat him to the punch in covering
a ranger and bandleader Claude Thornhill's update of Loch Loman
a few months earlier, Tommy Dorsey wasn't going to take
(35:33):
any chances in letting this other Scottish classic get past him.
Speaker 18 (36:37):
Maxwell Maxwelton's banks a Barney wherever early all the du
and the.
Speaker 15 (36:53):
Lorry gave me her love and promise.
Speaker 3 (36:59):
True, gave me her promis to and then for God
will be.
Speaker 11 (37:13):
But for Bony Bony Anne Lorry, I name me do and.
Speaker 2 (37:51):
For her for.
Speaker 5 (38:15):
My Victor records Annie Laurie by Tommy Dorsey and his orchestra,
arranged like Claude Thornhill and recorded in New York City
on February third, nineteen thirty eight. I just mentioned Benny
Goodman's big hit lock Loman, another Scottish folk song turned swing.
(38:37):
That song was sung by Martha Tilton during Benny Goodman's
groundbreaking Carnegie Hall concert that took place on January sixteenth,
nineteen thirty eight. And here is the record release of
that song on Victor.
Speaker 7 (39:01):
Oh you take the high road, now I'll take the
low road. But I'll be in Scotland a fire for
me and my true love may never meet again on
the Bonny Bonny Banks of lot Lormans, by on Bonny
(39:21):
Banks and by young Bonny Brays where the sun shines
spread on lot Lormans, where me and my true love
forever want to games.
Speaker 19 (39:40):
On the Bonny Bonny fan go lot load. Now you
take the high road and I'll take the low road.
Speaker 7 (39:52):
I'll be in Scotland, a fire for me and my
true love may never meet again on the Bonny Bonny Bank.
Speaker 11 (40:00):
Some Lo Loaman.
Speaker 7 (40:21):
That we parted in yon Shady Glands on the Steeg
Steve side from ben Loma, where it for you the Highland,
He'll be you and the sign coven is lo.
Speaker 11 (40:48):
Now you take the herold.
Speaker 8 (40:53):
Is commander for.
Speaker 7 (40:54):
You, for me and not too low. Then again on
the Bunny Bay, on the Bunny Bunny Babe, on the
Bonny body. Bye Long Loan lock Loman.
Speaker 5 (41:26):
Via Victor Records loch Loman by Benny Goodman and his
orchestra vocal by Martha Tilton, recorded in New York City
November the twelfth, nineteen thirty seven. So a little ping
pong match of sorts between Benny Goodman and Tommy Dorsey
when it came to Scottish themed songs. Benny came out
(41:50):
with loch lomand on November the twelfth, nineteen thirty seven.
Tommy Dorsey countered with Annie Laurie on February the thirdnineteen
thirty eight, and that song did very well. So Tommy
came right back with Coming through the Rye on March
the tenth of nineteen thirty eight. So Neil read, thank
(42:13):
you so much for your voice message to us. I'm
sure it was painless for Neil to record it, and
I encourage you to do the same by going to
Make Believe Ballroom podcast dot com. Let's make Believe Ballroom
podcast dot com and hitting the microphone icon in the
lower right hand corner.
Speaker 11 (42:32):
Of the page.
Speaker 5 (42:34):
That was a wonderful email. And now we go to
another listener, and I'm also happy to read and delve
into his email. Always love when we get emails from
high school or college students, and here is one recently received. Hi, Jeff,
I'm a college student in Rochester, New York who started
(42:55):
listening to the show on Jazz ninety point one not
too long ago. But I have become a big fan.
I especially like hearing you talk about the history behind
the songs and artists, and Lenny's segment is a nice
recent edition. Anyway, I'm a little bit behind on episodes currently,
(43:16):
but a few weeks ago you played something featuring the organ.
I'm a big fan of organ music, so I was
hoping you could play another song featuring it. Keep up
the good work and have a good one and that
sign Chris and Chris goes to the Rochester Institute of Technology.
(43:36):
And yes, Chris, we did play some organ music a
few weeks back when we played a song by the
soprano Loulie Gene Norman that she did as a special
record for the Ice Capades. So, Chris, I think that
the number one proponent of playing the organ for a
(43:57):
number of songs that were recorded was the great Fats Waller,
the well known piano player and singer, comedian entertainer. We
play so much Fats here on the program. Of course,
songs like I Ain't Misbehaving and join us jumping. But
I don't think in the history of this show I
(44:19):
ever played anything he did on the organ, So I'm
very glad you asked Fats. Fats Waller wrote over four
hundred songs, and he was indeed an amazing composer as
well as entertainer. So how did Fats Waller become acquainted
with the organ? Well, Fat's dad was a Baptist preacher,
(44:44):
the Reverend Edward Martin Waller, and he had a congregation
in Harlem, New York. So at ten years old, Fats
Waller began playing the organ in his father's church, and
later in his career he never forgot the joy he
received from playing the organ in church. So unknown to
(45:08):
many today, Chris Fats Willer pioneered the use of the
pipe organ and Hammond organ in jazz. Fats referred to
the instrument as the god box, and he used the
organ as only he could, given it a sense of
(45:29):
swing swing to the pedals. So let me play one
by Fats Waller on the organ. I just mentioned ain't misbehavin.
Speaker 17 (46:12):
The name, and.
Speaker 2 (47:08):
I don't want to walk with all by myself.
Speaker 7 (47:13):
No one to talk with the mesion shelf Emmy's.
Speaker 15 (47:19):
Face and saving my love for you.
Speaker 10 (47:24):
Find you our baby, I know the.
Speaker 20 (47:31):
One I love.
Speaker 10 (47:33):
I'm through it, flitting the cheer that I'm thinking out
Emmy's raving, saving my love for you.
Speaker 7 (47:44):
Oh yeah, like a chawner in a corner.
Speaker 3 (47:53):
Don't go nowhere?
Speaker 8 (47:55):
Why the bagging y'rsel.
Speaker 17 (48:01):
Lady.
Speaker 20 (48:04):
Bullyvern, don't stand ladies, I know, mis go.
Speaker 11 (48:12):
Hey, I'm a move.
Speaker 20 (48:14):
About it fun really, amen, faman raman oh my loggin vogin.
Speaker 5 (48:25):
Loger, ain't misbehaven Fats Wailer on the organ and his
continental rhythm swing. This record recorded in London on August
the twenty first, nineteen thirty eight. And thank you so
much Chris for your outstanding email and your interest in
hearing some organ music vintage nineteen thirties. Again to reach
(48:50):
me Jeff at MakeBelieve Ballroom Radio dot com. Jeff at
MakeBelieve Ballroom Radio dot com. And now let's reach out
to our our producer Emeritis. Lenny from down the Block
in Tampa, Florida with his record pick of the week.
Speaker 21 (49:08):
Hi, gang, Lenny from down the block here with my
record pick of the week. Two songs were recorded to
be used as a theme music for the Make Believe Ballroom.
The earliest tune was written in nineteen thirty six by
Andy Rozoff in Paul, Deneka. It was recorded by Charlie
Barnett and his Glen Island Casino Orchestra with vocals by
(49:31):
the Modern Airs. Martin Block, the original host of the
Make Believe Ballroom for w NEW Radio in New York,
quickly made it the show's theme song. It's the version
that Jeff used is to close out many of his shows.
The theme song that Jeff opens each program with is
Glenn Miller and his Orchestra's Make Believe Ballroom Time, which
(49:54):
was written in nineteen forty to replace the older Barnett tune.
It was written by Block, Green and Stoner, that Block
being the one and only Martin Block. It's interesting that
the Modern Airs also provided the vocal for that version
of the theme. I recently found another record titled Make
Believe Ballroom that perhaps was never released. It featured vocals
(50:19):
by the Pied Pipers with the Selburg Orchestra. It was
used in the nineteen forty nine Columbia film Make Believe Ballroom,
which was loosely based on both the Martin Block New
York version of the radio show and Al Jarvis's Los
Angeles program. The record you were about to hear was
recorded on the Exclusive label with no B.
Speaker 2 (50:42):
Side nas.
Speaker 1 (50:57):
Article to be there.
Speaker 2 (51:04):
You're making me fall. That's a canopy above the spies
and after that onto your end, shielding your.
Speaker 18 (51:15):
Friends hot been your cardad for that time over the sky,
same mister change showed you the way, the way you'll
stay the ball, take the one you hove along with you.
Speaker 2 (51:42):
To the brief ball maybe ball rude where maybe b
breees come to.
Speaker 18 (52:21):
I been your f hand on that start, all over
that story, saying mister rag jay, j'ge you the way,
don't stay. I w take the one you.
Speaker 11 (52:42):
Long with you.
Speaker 2 (52:45):
The long maybey Bob.
Speaker 3 (52:50):
When they believe, some don't.
Speaker 2 (52:53):
And I'm bonn baby go with you.
Speaker 5 (53:16):
I think by looking at the bull of a clock
on the wall here we might have time for one
more song.
Speaker 9 (53:36):
I want to zoo with thee, sleep with the grape
shape and stuff we've come to look sharp enough to
see my Sunday girl. I want to read sleep with
the ripe stripe at the best best and read flat
and the lady's bed see that Sunday again. I want
(53:58):
to look keen so my three will say you don't
look like saying bow, so keen, that's your screen. He
comes to walk in rainbow sweet to magazine with three
fleet with the brain shape and stuff. Come to look
sharp enough to see my girls.
Speaker 18 (55:19):
I want a brown gown with the dog up with
the heads left fand the lad.
Speaker 12 (55:24):
Wet in the shoppers taste to see mine.
Speaker 6 (55:28):
Made the water can pat.
Speaker 17 (55:31):
With the trim and bag back with the rids to
twenty years to see my son this, sir.
Speaker 14 (55:40):
I want to look keep so my dream.
Speaker 7 (55:43):
Will say, hey, I the lucky fella don't, but he'll scream.
Speaker 14 (55:50):
Babies in technic color.
Speaker 18 (55:52):
I want brown gown top talk with the lay with
in the shopper ta to see.
Speaker 5 (56:27):
On Columbia Records from nineteen forty two, a zoot Suit
for My Sunday gal by Kay Kaiser and his orchestra,
vocal by Sully Mason, backed up by Trudy, Dorothy Jack
and Max. This song hit climbed to number eight on
the Weekly Singles Sales charts, and that My Friends concludes
(56:55):
another broadcast of the Make Believe Ballroom to reach me
Jeff at make Believe Ballroom or radio dot com. That's
Jeff at make Believe Ballroom Radio dot com. To hear
past shows in this series, or to leave a voicemail
message to be played on the air with your requests
or comments like Neil Reid did I'm Jeff at make
(57:17):
Believe Ballroom podcast dot com. Jeff at make Believe Ballroom
podcast dot com. So until next week on the radio,
this has been Jeff Presler.
Speaker 9 (57:37):
Lets and imagine a full room here to make me
leave ballroom.
Speaker 17 (57:49):
It will double my shot.
Speaker 14 (57:51):
I can see it your glance. Room wild
Time kets make believe falling time, But all your cares away,
all the bands are here to bring good cheer your way.
(00:25):
It's make really falling time and free to everyone. It's
no time to friend your dalis said by mine.
Speaker 2 (00:39):
Suppose your eyes.
Speaker 3 (00:41):
And visual lie in your solitude.
Speaker 1 (00:45):
Your favorite bands are on the stand.
Speaker 4 (00:49):
And mister Miller, what you're in the mood?
Speaker 1 (00:51):
It's make believe falling time. We are of sweet Roman.
Speaker 2 (00:59):
Is you make believe? Come on, Joe.
Speaker 5 (01:02):
Last, Das Last, Hello World, 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 today on the radio via great affiliates like
(01:23):
Jazz ninety point one WGMC in Rochester, New York, or
maybe on a podcast or even on internet radio in
the United Kingdom, anyway you've arrived. I am delighted as
I get ready to spin for you some amazing big
band jazz, swing, blues and boogie woogie classics. Folks, you're
(01:45):
listening to the Make Believe Ballroom broadcasting almost continuously since
nineteen thirty five. Once again, welcome one and all into
the Crystal Studio. I've promised our listener in the United
Kingdom that I would play at least one British big
band orchestra per show some weeks, though unfortunately I have
(02:10):
to admit I'm neglect so to make sure I cover
my obligations, here for you to open the show is
one Scott Woods and his six swingers.
Speaker 6 (03:14):
Swinging high, swinging low every night and day on the
goals making door. Got no time for player that Sammy
the Wonder Boy still pend us the realm of God.
Hear him more, hear him go, but just this way say?
(03:37):
And that guy got personality and the cute old ragionality
he's telling with Rudy Balley. He's a virtuo. So under me,
little Bolo when he plays and oh go off, wasn't
mine the keys that remind you of the Japanese Saint
Louis to drive his groove we went and placed by
Sammy Dack's uphone. He's gonna wrong, he can't start, sees
(04:01):
the names go all of passionato when he plays his
oblega medicos who speaking Bolton. He's got a swell as
ben and patient for a creation and his name Dammy.
Speaker 2 (04:15):
That's the phone.
Speaker 5 (05:28):
Recorded on Columbia Records in London on June the second,
nineteen thirty six. That was Sammy Saxophone, Scott Woods and
his six Swingers. As I honor my commitment to presenting
you with at least one British big band orchestra per week.
George Scott Woods, the band leader we just heard he
(05:51):
was a very popular musician in the United Kingdom. He
was a Scottish born pianist, arranger and bandleader. Played the
accordion and by coincidence with George scott Wood Scottish heritage.
Another segment a little later on in the program today
(06:11):
will also key in on Scotland. I didn't even think
of that when I was putting the playlist together, but
that will be later. And here in the present I
think I will just remain in the United Kingdom with
this selection.
Speaker 3 (08:33):
Being something.
Speaker 5 (09:19):
On Carlophone Records recorded in London on August nineteenth, nineteen
forty three. We just heard the beloved song Ida Sweet
as Apple Cider, the Eddie Cantor standard presented to you
today by one Harry Parry and his radio sextet. Harry
(09:42):
Parry was a Welsh born clarinetist and bandleader. And I'm
sure you probably heard, as I did, a little Benny
Goodman in his style. Perhaps so two big band orchestras
from the United Kingdom to get things underway here today
on the Believe Ballroom. And before I forget, I just
(10:04):
wanted to mention that I discussed a few weeks back
the evolution of how folks listened to music. Records were
played on the gramophone as the primary way to listen
until the late nineteen twenties when radio started to become
the predominant way people would enjoy the music of the times. Now,
(10:30):
another popular way to listen to music was in one's
own paller and in order to hear a song like
Ida Sweet as Apple Cider, which was first recorded in
nineteen twenty four, many folks bought the sheet music of
the song to play on the piano, usually in families
(10:53):
at that time, families that could afford a piano, many
members of the family could play at least the piano,
if not multiple instruments. So it said that when the
song was released in sheet music form, in nineteen twenty one.
Over the next several years, a half million copies of
(11:18):
the Eddie Munson Jack Leonard tune was sold. And my
own discussion here on sheet music, it's piqued my own interest.
If you give me a second, I want to google
what the number one selling piece of sheet music of
(11:38):
all time was. Let's see if we can come up
with that answer. And I'll do that, do the research
while I play this song.
Speaker 7 (12:01):
Don't know.
Speaker 8 (12:06):
Anything You don't It's.
Speaker 2 (13:36):
To me.
Speaker 5 (13:44):
Very Recorded in New York on the twenty first of
(14:59):
January nineteen thirty eight on Columbia Records. Johnny Dodds and
His Chicago Boys twenty ninth and Dearborn Johnny Dodds was
one of the greatest clarinetists of the nineteen twenties, especially
when it came to the New Orleans style. He worked
(15:20):
with most of the major hot jazz bands of the era.
Dodds was in Kid Orley's, King Oliver's, and Louis Armstrong's bands.
Now Johnny Johnny Dodds had a drummer brother that was
called Baby Dodds, and they had a great but sometimes
(15:44):
contentious sibling rivalry, but ended up joining forces for a
while as an important part of Louis Armstrong's classic Hot
five and Hot seven recording sessions that he did for
o K Records. Johnny Dodds loved Chicago and he was
(16:04):
not one to travel too much, so he really didn't
get the credit he deserved, at least I feel he
deserves as a top clarinetist. I mentioned Baby Let's play
One for You with him featured on the drums.
Speaker 9 (17:00):
M M.
Speaker 8 (17:18):
Think they.
Speaker 7 (17:24):
Don't the.
Speaker 5 (17:34):
First Baby Dodds and his wonderful snare drumming from an
(18:48):
album called drum Parade. I think if I'm not mistaken,
and I don't have the information from that album in
front of me, but it sure sounds like Albert Nicholas
was playing the trump at the great Albert Nicholas. I'm
Jeff Bresler, and you're listening to the one, the only,
the original Make Believe Ballroom broadcasting almost continuously since nineteen
(19:11):
thirty five, and it's certainly an honor to host this program,
a radio show that has seen the likes of al Jarvis, Martin, Block,
William B. Williams, and the legendary Steve Allen all share
this seat. So certainly an honor. I could be reached
at Jeff at make Believe Ballroom Radio dot com. That's
Jeff at MakeBelieve Ballroom Radio dot com. And in just
(19:33):
a moment a few folks who have reached out to
the show will be featured an email and a voicemail
coming your way shortly. But now, I said before the
Dodds Brothers played for us, that I was going to
check on which song sold the most copies of sheet music,
(19:55):
and Mike Googling has come up with a song named Sweet,
composed by Harry Owens for the nineteen thirty seven film
Waka Ki Wedding. It won the Academy Award for Best
Original Song, and de Bing Crosby's record of that song
(20:16):
became one of the biggest hits of nineteen thirty seven.
Now it is said, and I checked this out a
few times, that the sheet music to Sweetlilani sold over.
Get ready for this fifty four million copies.
Speaker 10 (20:43):
Sweetly Long, Heavenly Long, fashq sweat.
Speaker 8 (21:01):
Lolly Earth.
Speaker 4 (21:03):
Then she plays name in a Bomay lordy.
Speaker 7 (21:11):
It was the star on you.
Speaker 10 (21:18):
Sweet lay Loney, heaven lay Loma.
Speaker 7 (21:28):
Why me lookar andized fortunes.
Speaker 11 (21:36):
Lolly Earth, you.
Speaker 12 (21:38):
Are my paraized complete.
Speaker 13 (21:44):
Lolly.
Speaker 3 (21:46):
You are my dream Come.
Speaker 11 (21:58):
Sweetly Lody, Heavenly.
Speaker 4 (22:03):
Fo Tropic scars are jealous as they shine my sweet
Clay Lovely. I think they're jealous of.
Speaker 13 (22:21):
Your blue eyes, Lovely lay Lon. Jealous because your sweet
lay Lord, Heavenly Flo.
Speaker 14 (22:44):
I dream of paradise. Hold my sweet name. You are
my paradise compleat.
Speaker 13 (22:59):
Lovely you are my.
Speaker 7 (23:05):
Love.
Speaker 14 (23:27):
You arema paradise home Leader. Lovely, you are my dream.
Speaker 5 (23:41):
Cah on Decca Records. Sweet Lalani by Bing Crosby with
Lonnie McIntyre and his Hawaiians, recorded in Los Angeles, California,
February the third, nineteen thirty seven. In addition to winning
(24:04):
the Academy Award, this was a number one record on
the Billboard Charts four in nineteen thirty seven. And now
I am literally scratching my scratching my head, and Dylan
here in the studio is laughing because that's I really
am scratching my head, because this whole thing's a little bizarre.
(24:24):
If you ask me, I told you I double checked.
The sheet music did indeed sell in the vicinity of
fifty four million copies. Now, the opening to the song
is quite odd since Bing Crosby was the number one
singer on the whole planet at the time in nineteen
thirty seven, and the opening vocal was not by Bing
(24:45):
by by Lannie McIntyre until Bing joined in. And now
I'm reading and this makes me certain that I'm not nuts.
I'm reading some back on this song, so it says
Les Paul, a close friend of Crosby, said in an
interview that Jack Capp, founder of the American Decca record Company,
(25:11):
and to Bing Crosby, they had an ongoing disagreement about
having Lannie McIntyre sing the first half of the recording.
And to make it even more odd, I also mentioned
earlier that this song, Sweet Leilani, in addition to being
number one on Billboard, was also the choice for the
(25:33):
Academy Award for Best Song in nineteen thirty seven. Let
me now, because I'm starting to get obsessed with this,
so bear with me. I'm looking now to see who
the competition was against Sweetlilani for Best Song in thirty seven. Amazing.
(25:56):
Let me see if I have it on the playlist
and I do this, friends, is the song that was
beat by Sweet Lailani for the Academy Award.
Speaker 11 (27:45):
The way you wear your hat, the way you sip
your teeth, the memory of all oh oh, They can't
take that away from me. The way your smile just means,
(28:07):
the way you sing off keys, the way you haunt
my dreams. No, no, they can't take that away from me.
We may never never.
Speaker 15 (28:24):
Meet again, flung a bumpy road to love, but I'll
always always keep the memory.
Speaker 11 (28:37):
The way you hold your n the way we dance
still free, the way you change my life. No, no,
they can't take.
Speaker 4 (28:53):
That away from me.
Speaker 11 (28:54):
No, they can't take that all.
Speaker 5 (28:58):
Away from the film. Shall we Dance on Brunswick Records.
They can't take that away from me. By the Gershwin
Brothers vocal by Fred Astaire Orchestra conducted by Johnny Green
(29:24):
and recorded in Los Angeles, March fourteenth, nineteen thirty seven. Amazing,
totally bizarro, as we just delved into the history and
I don't even remember how we began. Yeah, by looking
at which song solo most sheet music in history, So
in essence, they did take it away from them, the
(29:47):
Gershwin Brothers, who, in my humble opinion, should have won
the Academy Award for they can't take that away from
me in nineteen thirty seven. Time for me to stop
foaming now by playing.
Speaker 7 (30:03):
This letters letters.
Speaker 5 (30:16):
Ay, yes, we get many letters in the form of emails,
and occasionally a brave soular two still laughing about that record,
will step forward and up to the mic by sending
me a voice email to play on the show. All
you have to do for that is go to Make
Believe Ballroom Podcast dot com. Make Believe Ballroom podcast dot Com,
(30:40):
where I archive past shows. Go into the lower right
hand corner of the web page. You'll see a microphone icon.
Press it and their record away with your comments and requests.
So for you both comment and request from a listener
via the voicemail microphone that I just mentioned.
Speaker 16 (31:02):
I tuned into the show where you were deciding if
an email you received from someone named tam was from
a male or a female listener. You said tam could
be short for Tammy as a woman's name, or tam
o'shanner as of the name of a man. To assure
us that tam O'shanner was a male, you referred to
(31:25):
the character created by Robert Burns, the Scottish poet. The
name Tam is actually short for Thomas. The Tommy Dorsey
song Coming through the Rye used lyrics from a Robert
Burns poem. Can you humor me by playing that record? Thanks?
(31:45):
It's Neil Reid here.
Speaker 5 (31:47):
Thank you Neil Reid. You are both a gentleman and
a scholar. So I am delighted and honored to play
that record for you.
Speaker 12 (32:01):
Baaaaaaamaakky. If a body meets another body coming.
Speaker 17 (33:15):
Through the ride, if fy kiss and all the body
need a body.
Speaker 12 (33:23):
Cry, every lady has her lighty plain.
Speaker 7 (33:28):
I say, hey, I.
Speaker 3 (33:31):
All the life.
Speaker 17 (33:33):
They smile on me well, coming through the ride. If
(34:06):
the body need the body, come to the if the body,
if the body need a body crime.
Speaker 5 (34:25):
Coming through the Rye Tommy Dorsey and his orchestra, vocal
by Edith Wright, lyrics by the Scottish poet Robert Burns,
who was born in seventeen fifty nine and died in
seventeen ninety six. So I'm sure, I'm very confident that
(34:45):
he wasn't at the Victor Records recording session on February
the tenth, nineteen thirty eight, New York City. Possibly they
are in spirit, but not in the flesh. But with
sweet Leilani winning the Academy Award, anything is and was possible.
So here let's get back to Neil's excellent voicemail. So
(35:11):
here's an interesting fact as the story goes. After Benny
Goodman managed to beat him to the punch in covering
a ranger and bandleader Claude Thornhill's update of Loch Loman
a few months earlier, Tommy Dorsey wasn't going to take
(35:33):
any chances in letting this other Scottish classic get past him.
Speaker 18 (36:37):
Maxwell Maxwelton's banks a Barney wherever early all the du
and the.
Speaker 15 (36:53):
Lorry gave me her love and promise.
Speaker 3 (36:59):
True, gave me her promis to and then for God
will be.
Speaker 11 (37:13):
But for Bony Bony Anne Lorry, I name me do and.
Speaker 2 (37:51):
For her for.
Speaker 5 (38:15):
My Victor records Annie Laurie by Tommy Dorsey and his orchestra,
arranged like Claude Thornhill and recorded in New York City
on February third, nineteen thirty eight. I just mentioned Benny
Goodman's big hit lock Loman, another Scottish folk song turned swing.
(38:37):
That song was sung by Martha Tilton during Benny Goodman's
groundbreaking Carnegie Hall concert that took place on January sixteenth,
nineteen thirty eight. And here is the record release of
that song on Victor.
Speaker 7 (39:01):
Oh you take the high road, now I'll take the
low road. But I'll be in Scotland a fire for
me and my true love may never meet again on
the Bonny Bonny Banks of lot Lormans, by on Bonny
(39:21):
Banks and by young Bonny Brays where the sun shines
spread on lot Lormans, where me and my true love
forever want to games.
Speaker 19 (39:40):
On the Bonny Bonny fan go lot load. Now you
take the high road and I'll take the low road.
Speaker 7 (39:52):
I'll be in Scotland, a fire for me and my
true love may never meet again on the Bonny Bonny Bank.
Speaker 11 (40:00):
Some Lo Loaman.
Speaker 7 (40:21):
That we parted in yon Shady Glands on the Steeg
Steve side from ben Loma, where it for you the Highland,
He'll be you and the sign coven is lo.
Speaker 11 (40:48):
Now you take the herold.
Speaker 8 (40:53):
Is commander for.
Speaker 7 (40:54):
You, for me and not too low. Then again on
the Bunny Bay, on the Bunny Bunny Babe, on the
Bonny body. Bye Long Loan lock Loman.
Speaker 5 (41:26):
Via Victor Records loch Loman by Benny Goodman and his
orchestra vocal by Martha Tilton, recorded in New York City
November the twelfth, nineteen thirty seven. So a little ping
pong match of sorts between Benny Goodman and Tommy Dorsey
when it came to Scottish themed songs. Benny came out
(41:50):
with loch lomand on November the twelfth, nineteen thirty seven.
Tommy Dorsey countered with Annie Laurie on February the thirdnineteen
thirty eight, and that song did very well. So Tommy
came right back with Coming through the Rye on March
the tenth of nineteen thirty eight. So Neil read, thank
(42:13):
you so much for your voice message to us. I'm
sure it was painless for Neil to record it, and
I encourage you to do the same by going to
Make Believe Ballroom podcast dot com. Let's make Believe Ballroom
podcast dot com and hitting the microphone icon in the
lower right hand corner.
Speaker 11 (42:32):
Of the page.
Speaker 5 (42:34):
That was a wonderful email. And now we go to
another listener, and I'm also happy to read and delve
into his email. Always love when we get emails from
high school or college students, and here is one recently received. Hi, Jeff,
I'm a college student in Rochester, New York who started
(42:55):
listening to the show on Jazz ninety point one not
too long ago. But I have become a big fan.
I especially like hearing you talk about the history behind
the songs and artists, and Lenny's segment is a nice
recent edition. Anyway, I'm a little bit behind on episodes currently,
(43:16):
but a few weeks ago you played something featuring the organ.
I'm a big fan of organ music, so I was
hoping you could play another song featuring it. Keep up
the good work and have a good one and that
sign Chris and Chris goes to the Rochester Institute of Technology.
(43:36):
And yes, Chris, we did play some organ music a
few weeks back when we played a song by the
soprano Loulie Gene Norman that she did as a special
record for the Ice Capades. So, Chris, I think that
the number one proponent of playing the organ for a
(43:57):
number of songs that were recorded was the great Fats Waller,
the well known piano player and singer, comedian entertainer. We
play so much Fats here on the program. Of course,
songs like I Ain't Misbehaving and join us jumping. But
I don't think in the history of this show I
(44:19):
ever played anything he did on the organ, So I'm
very glad you asked Fats. Fats Waller wrote over four
hundred songs, and he was indeed an amazing composer as
well as entertainer. So how did Fats Waller become acquainted
with the organ? Well, Fat's dad was a Baptist preacher,
(44:44):
the Reverend Edward Martin Waller, and he had a congregation
in Harlem, New York. So at ten years old, Fats
Waller began playing the organ in his father's church, and
later in his career he never forgot the joy he
received from playing the organ in church. So unknown to
(45:08):
many today, Chris Fats Willer pioneered the use of the
pipe organ and Hammond organ in jazz. Fats referred to
the instrument as the god box, and he used the
organ as only he could, given it a sense of
(45:29):
swing swing to the pedals. So let me play one
by Fats Waller on the organ. I just mentioned ain't misbehavin.
Speaker 17 (46:12):
The name, and.
Speaker 2 (47:08):
I don't want to walk with all by myself.
Speaker 7 (47:13):
No one to talk with the mesion shelf Emmy's.
Speaker 15 (47:19):
Face and saving my love for you.
Speaker 10 (47:24):
Find you our baby, I know the.
Speaker 20 (47:31):
One I love.
Speaker 10 (47:33):
I'm through it, flitting the cheer that I'm thinking out
Emmy's raving, saving my love for you.
Speaker 7 (47:44):
Oh yeah, like a chawner in a corner.
Speaker 3 (47:53):
Don't go nowhere?
Speaker 8 (47:55):
Why the bagging y'rsel.
Speaker 17 (48:01):
Lady.
Speaker 20 (48:04):
Bullyvern, don't stand ladies, I know, mis go.
Speaker 11 (48:12):
Hey, I'm a move.
Speaker 20 (48:14):
About it fun really, amen, faman raman oh my loggin vogin.
Speaker 5 (48:25):
Loger, ain't misbehaven Fats Wailer on the organ and his
continental rhythm swing. This record recorded in London on August
the twenty first, nineteen thirty eight. And thank you so
much Chris for your outstanding email and your interest in
hearing some organ music vintage nineteen thirties. Again to reach
(48:50):
me Jeff at MakeBelieve Ballroom Radio dot com. Jeff at
MakeBelieve Ballroom Radio dot com. And now let's reach out
to our our producer Emeritis. Lenny from down the Block
in Tampa, Florida with his record pick of the week.
Speaker 21 (49:08):
Hi, gang, Lenny from down the block here with my
record pick of the week. Two songs were recorded to
be used as a theme music for the Make Believe Ballroom.
The earliest tune was written in nineteen thirty six by
Andy Rozoff in Paul, Deneka. It was recorded by Charlie
Barnett and his Glen Island Casino Orchestra with vocals by
(49:31):
the Modern Airs. Martin Block, the original host of the
Make Believe Ballroom for w NEW Radio in New York,
quickly made it the show's theme song. It's the version
that Jeff used is to close out many of his shows.
The theme song that Jeff opens each program with is
Glenn Miller and his Orchestra's Make Believe Ballroom Time, which
(49:54):
was written in nineteen forty to replace the older Barnett tune.
It was written by Block, Green and Stoner, that Block
being the one and only Martin Block. It's interesting that
the Modern Airs also provided the vocal for that version
of the theme. I recently found another record titled Make
Believe Ballroom that perhaps was never released. It featured vocals
(50:19):
by the Pied Pipers with the Selburg Orchestra. It was
used in the nineteen forty nine Columbia film Make Believe Ballroom,
which was loosely based on both the Martin Block New
York version of the radio show and Al Jarvis's Los
Angeles program. The record you were about to hear was
recorded on the Exclusive label with no B.
Speaker 2 (50:42):
Side nas.
Speaker 1 (50:57):
Article to be there.
Speaker 2 (51:04):
You're making me fall. That's a canopy above the spies
and after that onto your end, shielding your.
Speaker 18 (51:15):
Friends hot been your cardad for that time over the sky,
same mister change showed you the way, the way you'll
stay the ball, take the one you hove along with you.
Speaker 2 (51:42):
To the brief ball maybe ball rude where maybe b
breees come to.
Speaker 18 (52:21):
I been your f hand on that start, all over
that story, saying mister rag jay, j'ge you the way,
don't stay. I w take the one you.
Speaker 11 (52:42):
Long with you.
Speaker 2 (52:45):
The long maybey Bob.
Speaker 3 (52:50):
When they believe, some don't.
Speaker 2 (52:53):
And I'm bonn baby go with you.
Speaker 5 (53:16):
I think by looking at the bull of a clock
on the wall here we might have time for one
more song.
Speaker 9 (53:36):
I want to zoo with thee, sleep with the grape
shape and stuff we've come to look sharp enough to
see my Sunday girl. I want to read sleep with
the ripe stripe at the best best and read flat
and the lady's bed see that Sunday again. I want
(53:58):
to look keen so my three will say you don't
look like saying bow, so keen, that's your screen. He
comes to walk in rainbow sweet to magazine with three
fleet with the brain shape and stuff. Come to look
sharp enough to see my girls.
Speaker 18 (55:19):
I want a brown gown with the dog up with
the heads left fand the lad.
Speaker 12 (55:24):
Wet in the shoppers taste to see mine.
Speaker 6 (55:28):
Made the water can pat.
Speaker 17 (55:31):
With the trim and bag back with the rids to
twenty years to see my son this, sir.
Speaker 14 (55:40):
I want to look keep so my dream.
Speaker 7 (55:43):
Will say, hey, I the lucky fella don't, but he'll scream.
Speaker 14 (55:50):
Babies in technic color.
Speaker 18 (55:52):
I want brown gown top talk with the lay with
in the shopper ta to see.
Speaker 5 (56:27):
On Columbia Records from nineteen forty two, a zoot Suit
for My Sunday gal by Kay Kaiser and his orchestra,
vocal by Sully Mason, backed up by Trudy, Dorothy Jack
and Max. This song hit climbed to number eight on
the Weekly Singles Sales charts, and that My Friends concludes
(56:55):
another broadcast of the Make Believe Ballroom to reach me
Jeff at make Believe Ballroom or radio dot com. That's
Jeff at make Believe Ballroom Radio dot com. To hear
past shows in this series, or to leave a voicemail
message to be played on the air with your requests
or comments like Neil Reid did I'm Jeff at make
(57:17):
Believe Ballroom podcast dot com. Jeff at make Believe Ballroom
podcast dot com. So until next week on the radio,
this has been Jeff Presler.
Speaker 9 (57:37):
Lets and imagine a full room here to make me
leave ballroom.
Speaker 17 (57:49):
It will double my shot.
Speaker 14 (57:51):
I can see it your glance. Room wild
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