July 25, 2025 • 58 mins
This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - we spin a couple of lightly played Glenn Miller recordings, two great classic Jam Sessions from the origional Make Believe Ballroom, Lenny from Down the Block with his Record Pick of the Week and many more great songs and stories to cherish and enjoy on this week's program.
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Speaker 1 (00:12):
It's make Believe ballroom time. Put all your cares away.
All the bands are here to bring good cheer your way.
It's make Belief ballroom time and free to everyone. It's
(00:33):
no time to friend your Dalis said Bamba.
Speaker 2 (00:39):
Yours.
Speaker 1 (00:40):
Close your eyes and visual lize in your solitude. Your
favorite bands are on this dance and mister Miller, what
you're in the mood. It's make believe ballroom time. We
are a sweet romance is to make bo Come on
(01:02):
to the last dass last.
Speaker 3 (01:05):
Hello world, I'm Jeff Presler, turning on the lights of
the Make Believe Ballroom and welcoming you into my crystal
studio for another program of classic big band hits from
the nineteen thirties and nineteen forties. Whether you're listening on
the radio via great affiliates like Jazz ninety point one
WGMC in Rochester, New York, or perhaps on a podcast,
(01:30):
or maybe even on an internet radio station 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. Hi, folks, I hope you're having
(01:55):
a great day. In the case that maybe you're not,
Hopefully this song will brighten things up for you.
Speaker 4 (03:00):
The sorrow the best ever, borrow.
Speaker 5 (04:11):
Nothing nothing.
Speaker 2 (05:00):
Friends.
Speaker 3 (05:17):
If somebody asks you what swing music was, just play
them this record on our caa Victor. We just heard
Bunny Bragin and his Orchestra with Sobin Blues, recorded in
nineteen thirty eight, with some great solos provided by Buddy
himself on the trumpet, a young Ray Koniff on the trombone,
(05:40):
the clarinet of Gus Bavona, Tennor Sachs of Georgia y Auld,
and the drums of Buddy Rich the Great Bunny Beggin
a wonderful way to start this week's make Believe ballroom
off to a great start. Let's spend one naw ow
from the clam Bake seven, then some uh lightly heard
(06:05):
Glenn Miller records.
Speaker 6 (06:45):
From Midnight.
Speaker 1 (06:46):
You two leave morella bars.
Speaker 6 (06:49):
I'll be right there.
Speaker 7 (06:51):
I've got my b.
Speaker 8 (06:54):
When I see that rusty hair conductor man, I'll grab
him by the collar and now holler alabam, alabam.
Speaker 9 (07:02):
That's where you drop your train.
Speaker 6 (07:04):
That brings me back again down home where I'll.
Speaker 9 (07:07):
Remain, where my honey lamb and I will be right
there with bells.
Speaker 5 (07:13):
When not old conductor yells.
Speaker 10 (07:16):
HOLLI.
Speaker 2 (08:28):
Something not men.
Speaker 4 (08:42):
They think.
Speaker 10 (08:56):
At you.
Speaker 2 (09:00):
No, no, no no.
Speaker 3 (09:20):
When the midnight ju Chu leaves for Alabama written by
Irving Berlin, Tommy Dorsey and his clam Bake seven vocal
by Edith Wright, recorded on the Victor label in New
York City, March the tenth, nineteen thirty eight. I'm Jeff
Bresler and you're listening to the one, the only, the
(09:41):
original Make Believe ballroom broadcasting almost continuously since nineteen thirty five.
Friends' History records that the Great Glenn Miller recorded two
hundred and sixty six seventy eight RPM singles between nineteen
(10:02):
thirty eight and nineteen forty four, and in addition to that,
Glenn made a couple of a dozen V discs. If
you're not familiar with what a V disc is, it
was a record that was not for sale to the public,
but distributed exclusively to members of the Armed forces during
(10:23):
World War Two as a morale booster. So once we
get past the all time favorites of Miller, like in
the Mood, Chattanooga, Chuchuo, Moonlight, Serenade, Gallon, Kalamazoo at al.
There are so many big hits, there's also a wealth
of Glenn Miller records that have been overshadowed by those
(10:48):
monster hits that still deserve playing time. And I'm going
to offer you two on today's ballroom. And why don't
I get started with Community Swing. We just enjoyed Community Swing,
(13:50):
composed by Glenn Miller and recorded by Glenn and the
Orchestra on June ninth, nineteen thirty seven at the Brunswicks
Studios in New York City. And some fine work on
that recording by Manny Klein on the trumpet, Hal McIntyre
on the clarinet, and George T. Simon playing the drums.
(14:16):
Let's now listen to one more of Miller's more lightly
played recordings, picked from his two hundred and sixty six records.
Speaker 6 (15:18):
You clap your hands and you swing out.
Speaker 4 (15:21):
What do the d and you mix and it's never
too pulled them all together and you do on the job.
Speaker 6 (15:27):
I've always stop your feet, you swing out?
Speaker 5 (15:31):
What men around the line?
Speaker 8 (15:34):
King, It's one you won't be down.
Speaker 6 (15:35):
Everybody swinging when you're doing the job.
Speaker 5 (15:37):
If you can't play Robby or friend yours.
Speaker 6 (15:40):
To me, don't let it bother you because you'll.
Speaker 11 (15:43):
Be the king when the man begins to play.
Speaker 6 (15:45):
You'll be as money as the life money. If you
do want bob and you swing out, what drum a
little bit?
Speaker 12 (15:54):
Beat it out?
Speaker 1 (15:55):
Makes everybody?
Speaker 6 (15:56):
Tell me when you do on the job.
Speaker 10 (16:05):
It may be something, but it not the guy. It
may be something, but it's not the give. Well, what
is the giant? What is the give?
Speaker 12 (16:20):
Why?
Speaker 10 (16:20):
Man alive? The give's a give? Why I cut you
some riff and pass it too? Just what else are
we supposed to do? Take a tool now, buck, give
me a chance. You're all mixed up because the giant's
a dance. Well tell me some more.
Speaker 6 (16:33):
I'm a suck hagging you.
Speaker 10 (16:35):
Well down that horn. We'll have dancing schools.
Speaker 13 (16:38):
You lap your hands and swing out, whe go sous
you do mix in the sap duke, boat.
Speaker 10 (16:46):
It all together and doing that GiB, stop your feet
and swing out. Why that's around the while shakes. Everybody's swinging.
Speaker 8 (16:56):
What you're doing that giant?
Speaker 13 (16:58):
If you can't playing Rodney or bread, I mean, don't
let it bother you joby by in the life of
the Bie.
Speaker 10 (17:11):
And swing up one.
Speaker 13 (17:14):
A littlements beating up and make everybody's happy when you're.
Speaker 8 (17:17):
Doing that guy.
Speaker 3 (17:24):
Doing the Jive, composed by Glenn Miller and pianist Chummy McGregor,
recorded on Brunswick Records November the twenty ninth, nineteen thirty seven,
with a nice vocal provided by Kathleen Lane. So, folks,
a couple of lesser known Glenn Miller tunes. I hope
you enjoyed them, and perhaps maybe even you were listening
(17:47):
to those records for the first time. We're gonna have
a little make believe ballroom nostalgia. In just a few
moments I mentioned that the Miller tune community swing. In
that record, Many Klein was playing the trumpet. Manny was
(18:09):
indeed one of the most highly regarded and sought after
trumpet players during the big band Erin to prove that,
he played not only for Glenn Miller, but for Jimmy Dorsey,
Tommy Dorsey, Benny Goodman and Artie Shaw, among others, but
occasionally many performed with his own small group bands. And
(18:32):
here's a quickie. Manny Klein and his strangely named sextet
from Hunger with Jada Jada performed on the radio in Hollywood, California.
I'm not exactly sure what show or what year, but
here's Manny and his trumpet. Now, doctor Scravnik, I direct
(18:53):
your attention to that handsome young lad over there in
yonder corner carrying that great, big, shiny new trumpet.
Speaker 14 (18:58):
That's the right direction's my lad. In fact, it's dead
center for a bullseye, And folks, may I direct your
attention in the same direction for their stands, our special guests.
Truly one of the greatest all around musicians in my
book and many others too. Here he is, Manny Climb.
Speaker 6 (19:14):
Hey, thanks Eddie, you should bring a fellow on with
a bang, and also thanks for the nice pulled up
well Manny.
Speaker 14 (19:20):
Truth of the matter is, I met every single word
of it. I feel safe in saying that you're the tops.
Speaker 6 (19:25):
Well, put out the lights and call in the law.
This guy's really off his rocker. Well seriously though, ed
real great being here, Manny.
Speaker 14 (19:32):
I thought it would be very much in order were
you to take up that horny oars and play a
little something for the people.
Speaker 6 (19:37):
Well, as you know, I'm always willing to try. How's
about Jadda.
Speaker 14 (19:41):
That's it, Manny, we're awaiting.
Speaker 5 (20:10):
Modern.
Speaker 14 (21:29):
Thank you Mannicline.
Speaker 6 (21:30):
That was really great, and thank you Eddie. It was
a pleasure being here and I do hope you invite
me again as good as done.
Speaker 3 (21:38):
I'm Jeff Bresler, and if you're just joining us, you're
listening to the Make Believe Ballroom, an hour of classic
big band jazz and swang mixed with the stories and
tales of the big band era. I can be reached
at Jeff at Make Believe Ballroom Radio dot com. That's
Jeff at MakeBelieve Ballroom Radio dot com. And speaking of
that email address, here is an email from a listener
(22:01):
received last week. It says, Hi, Jeff, we're a couple
of longtime listeners from Sweden, Sweden, New York. That is
gateway to Clarendon, which I personally know this is me
talking now. I personally know that that's not that far
from sunny Brockport, the New York State University, entrenched deep
(22:26):
in the frozen tundra of New York State. Back to
the email. One of the things that amazed me, and
that I've never heard anyone ask about is the remarkable
audio quality of the music you and Lenny from down
the Block share each broadcast. So many of these recordings
made in the thirties and forties sound brand new, clear
(22:49):
and bright. Where do you find classic ancient recordings without
things and scratches and the clicks and pops common on
decades old shellac? Seventy eight RPMs? Are these tracks that
have been remastered and re released on vinyl without its
own variety of unwanted noises or orre They converted to
(23:14):
digital and cleaned up and archived that way. Inquiring minds
want to know. Thanks waiting for the crystal ballroom lights
to sparkle again this week, and it says local regards
Rick Blank. And Rick does indeed have an email signature
(23:35):
indicating that he is familiar with the college at Brockport
and thanks Rick for your question. So we use a
number of sources to obtain recordings here Lenny from down
the Block he has an enormous collection of both seventy
eight's and LP big band and general jazz albums. Any
(24:00):
of the records we play we do place on an
actual turntable and Audio Technica brand turntable here in the
Crystal Studio, all in their scratchy, original magnificence. Now, Lenny's son,
Chris has done a great job restoring many of these
recordings and placing them on MP three's He's done this
(24:23):
over the years, removing the scratches to the best of
his ability and certainly working his magic to provide the
best sound possible. So many of you know Lenny now
lives has retired and lives in Tampa, and Chris in
his basement, has maintained Lenny's complete collection. Many of the
(24:47):
songs we play are from also from easy to find
sources like YouTube and archives dot org, and many we
get through Lenny's network of seventy eight RPM friends and
groups and they are shared and exchanged. Lenny sends recordings
(25:10):
to them, they send recordings back to us, and a
piece I Am going to play in a moment a
piece of make believe ballroom radio nostalgia I originally was given.
The piece I'm going to play is a reel to
reel and we converted that to an MP three. The
(25:31):
brains of the operation, though, is the literally thousands of
MP three transferred recordings we have on drives that are
stored on our Make Believe Ballroom playlist computer and referenced
in various ways to find what we need, so a
(25:52):
number of different avenues to obtain the music we play
here on the ballroom, and unfortunately have overstayed my welcome
by too much talk and not enough music. Let me
play one more then for you Reck and my friend
and dedicated listener in Italy one Max Catani. I will
(26:14):
play the real to real piece of Make Bullyeve Ballroom
nostalgia and the story behind it. But first.
Speaker 6 (26:44):
I can swing and I can jam.
Speaker 12 (26:49):
I'm mc guiladilla, Yes I am. Well when you learn it,
you'll be brown. Join the crowd, swing out loud. Some
folks say that swing books stay and it's dying now,
but I can't prove it them to prove them, they
don't know what they're talking about.
Speaker 10 (27:11):
What is it?
Speaker 12 (27:13):
A dude like Susan Cue?
Speaker 10 (27:17):
If I can't do with so can you?
Speaker 5 (28:07):
Sar Citizen.
Speaker 3 (28:11):
Ser from Decca Records, Wham Andy Kirk and his twelve
(29:25):
Clouds of Joy with the June Richmond Vocal recorded on
January the second, nineteen forty in New York City. And
now finally the bit of Make Bully Ballroom radio nostalgia
I have been attempting to but have failed to produce
for you so far. So this piece to Rick's question,
(29:49):
I obtained reel to reel several years ago, where it
eventually became transferred to an MP three. Now Max Catani,
our listener in Italy. He sent me an email a
little while back asking if I have more Make Believe
Ballroom radio nostalgia to listen to. So on the original
(30:11):
Make Believe Ballroom starring the legendary DJ Martin Block, a
segment was developed called Make Believe Ballroom Jam Sessions that
were played live in the WNW studios in New York
City during select broadcasts of The Ballroom. Now, of course,
(30:32):
the Ballroom played mostly records, but on occasion did have
these amazing sessions featuring some of big band's finest musicians.
Everyone from Benny Goodman to Tommy Dorsey and Jimmy Dorsey,
count Basie Coleman Hawkins to everybody in between. Many many
(30:57):
big names in the industry appeared on these segments over
the years. Today, I want to play for you with
session in which the Benny Goodman Trio shined here featuring
Benny on the clarinet, Teddy Wilson playing the piano, Gene
Krupa on the drums, with the song titled Runnin' Wild.
Speaker 13 (31:17):
Now.
Speaker 3 (31:17):
This number was performed live on the Ballroom during a
special Fletcher Henderson a Jam Session tribute presented by Martin
Block on April first, nineteen fifty one. Running Wild during
(35:03):
the special Fletcher Henderson Jam Session on wne W Radio
eleven three to zero in New York, featuring Benny Goodman,
Teddy Wilson, and Gen Crouper. And I do believe, if
I'm not mistaken, then that was the first time that
Gene Crouper you reunited with Benny Goodman to play with
(35:26):
the trio since they split in the spring of nineteen
thirty eight. So a little nostalgic make believe Ballroom Radio.
Here's some what is it? Some seventy four years later
on the still Live and Breathing twenty first century edition
of the program. And now let's move on to what
(35:53):
do we have?
Speaker 15 (35:53):
Oh?
Speaker 3 (35:53):
Yeah, I just remembered after last week's show, I received
two or three emails else asking for more Ethyl Waters. Now,
if you recall, I played Ethyl singing taking a Chance
on Love during a segment on the Great Big Band
era tap dancer Bill Bailey. I guess we never really
(36:16):
played Ethyl Waters on the ballroom, but the segment earned
for her. I assume some new fans, So for you guys,
a little more Ethyl Waters.
Speaker 9 (36:40):
I don't care what the.
Speaker 1 (36:42):
Weather man says.
Speaker 10 (36:43):
When the weather man says it's.
Speaker 1 (36:45):
Raining, you'll never hear me complaining. I'm certain the sun
will shine.
Speaker 8 (36:52):
I don't care how the weather van points.
Speaker 6 (36:55):
When the weather van points, do you gloomy?
Speaker 10 (36:58):
It's gotta be sunny to me?
Speaker 12 (37:00):
When your eyes look into mindjeebers, creepers, where'd you get
those weepers?
Speaker 2 (37:10):
Jeepers, creepers?
Speaker 10 (37:13):
Where'd you get those eyes?
Speaker 8 (37:16):
Guy shall kid off?
Speaker 12 (37:19):
How to get so litle goshall kid off?
Speaker 6 (37:24):
How they hypnotized?
Speaker 10 (37:28):
Golly Geeve when you turn those heaters on?
Speaker 5 (37:33):
Why is.
Speaker 12 (37:36):
God putting my cheeters on?
Speaker 2 (37:39):
Cheepers?
Speaker 10 (37:40):
Creepers?
Speaker 7 (37:42):
Where'd you get those weepers?
Speaker 1 (37:45):
All those weepers?
Speaker 12 (37:48):
How the hypnot ties?
Speaker 6 (37:50):
Where did you get those eyes.
Speaker 10 (37:56):
Down?
Speaker 4 (38:04):
That got it?
Speaker 5 (38:16):
But I did that day?
Speaker 10 (38:28):
That then?
Speaker 2 (38:35):
What all?
Speaker 5 (38:36):
Right?
Speaker 3 (38:36):
Now?
Speaker 6 (38:43):
Golly gee Wayne turned those keeter zone? Who got put
my cheetahs escapers?
Speaker 2 (38:56):
Right?
Speaker 10 (38:57):
Get those.
Speaker 5 (39:00):
Those weepers?
Speaker 10 (39:02):
Have you not die?
Speaker 11 (39:04):
Where did you get a di?
Speaker 10 (39:09):
Jeep and Creepers Big Black?
Speaker 3 (39:14):
From Bluebird Records. Believe it or not, Ethel was the
first to record this song, Jeepers Creepers music written by
Harry Warren with lyrics by Johnny Mercer, recorded in New
York City November the ninth, nineteen thirty eight. Now, many
of you may know that Louis Armstrong recorded his version
(39:38):
on January eighteenth, nineteen thirty nine. His was, of course
the most famous, but Ethel Waters actually beat him into
the recording studio and became the first ever to record
Jeepers Creepers. I'm Jeff Bresler. Thanks for joining me today
on the Make Believe Ballroom Jeff at Makebelie Ballroom Radio
(39:59):
dot com, Jeff at Makebully Ballroom Radio dot com. And
to hear past archived radio programs in podcast form, go
to www. Makebully Ballroom podcast dot com. That's Makebully Ballroom
podcast dot com. And now, from his palatial condo in Tampa, Florida,
(40:22):
the beach Bomb himself, the Platter Prince, the producer emeritus
of the Make Bully Ballroom, Mister Excitement Lenny from down
the Block with his record Pick of the Week.
Speaker 15 (40:37):
Hi gang, Lenny from down the block, here with my
record pick of the week. Massachusetts born Al Donahue was
a fan favorite during his tenure as a bandleader, Beginning
in the early nineteen thirties. Al had a long career
that extended to his band working on cruise ships all
the way into the nineteen sixties. Donnie, who spent the
(40:57):
nineteen thirties leading a successful the orchestra before giving it
all up in late nineteen thirty nine to play swing.
Donahue kept swinging away throughout the war years, but his
new style ultimately failed to capture the public's attention, and
in nineteen forty six he returned to sweet music. His
band is best remembered today for vocalists Phil Brito and
(41:21):
Paula Kelly. I've chosen for you a record from Donahue's
swing years here on Vocalian Records, featuring a Filibrito vocal
is the El Donahue orchestras The Man with the Mandolin,
recorded in nineteen thirty nine.
Speaker 9 (42:20):
Billium Bum Bum, bitterly m Bum, It comes the Man
with the Mandol and bitterly m bum Bum, bitterly um Bum.
He'll sure you up till your ship comes in. Couple
of cello playing an old chill. He comes around every afternoon,
raggedy old minstrel wearing a big grin. You loved the
man with the mandle and all the kids father, all
(42:43):
the kids hollering to the windows of a mama throw
a nickel and the mantle pick a little tune. We
love bitterly. I'm bum bum bitterly, I'm bum hopefully your
heart left the music, and bitterly I'm bum bum bitterly.
Speaker 10 (43:01):
There goes the man with the man.
Speaker 3 (43:49):
Thanks money. We look forward to hearing from you again
next week. So, while I was playing that fine Al
Donahue recording the studio audience quote unquote here in the
Crystal Studio today consisting of the always here, today, Gone tomorrow.
(44:09):
He hasn't been here in a long time. I am
talking about don't call me Ed Norton, my first name
is Norton, and the snunty kid himself, twenty one year
old gaming podcast superstar Savant Dylan, who pops his head
into the Crystal studio as he waits for his own
studio to be available to record his said podcast. So
(44:32):
the gruesome twosome here asked for more WNW Radio Make
Believe Ballroom Jam sessions, and I will certainly in a
moment to honor their requests. Now, Norton, Norton is dressed
properly for the program, is befitting a member of a
studio audience, flannel shirt button to the top, even though
(44:58):
it is hot outside, very hot, and as a matter
of fact, also deck down in a very nice looking
tractor supply baseball cap. But my friend Dylan, Dylan kids
don't know how to dress, so I won't even discuss
the garments you are wearing today. But the common link
here is not clothing, It is music, and the common
(45:22):
request more of the Martin Block Make Believe Ballroom Jam sessions.
Speaker 5 (46:01):
You don't have any.
Speaker 16 (46:06):
Let you tell anything. They fall such a.
Speaker 2 (46:20):
Very little sad, They f a many you.
Speaker 3 (47:47):
Another Martin Block w New Make Believe Ballroom Jam session
from the November sixteenth, nineteen thirty eight broadcast of the program,
with a truly exceptional dream band Benny Goodman, Lester Young,
Roy Eldridge, Teddy Wilson, Ben Heller, Sid Weiss, and Joe Jones.
(48:09):
So I hope both you Norton, don't call me Ed Norton.
My first name is Norton and Snottie Kid Dylan enjoyed
that jam session, and Norton I will. Since we have
some time left, let you pick a song you would
like to hear from the big band era.
Speaker 17 (48:29):
You're going to get snarky because you played it a
few months ago on the adjacent Topeka Santa Fe with
the Johnny Mercer vocals.
Speaker 5 (48:37):
Since you played Warren and Mercer earlier with Ethel Waters.
Speaker 3 (48:40):
I don't get snarky, and it is also one of
my favorites.
Speaker 7 (49:03):
Do you hear that whistle down line? I figured that
it's a number fourty and she's the only one that'll
sound that way. On the chi cent to Peak and
Santa Fe, see the old smoke rising round the bend,
I reckon that you knows she's going to meet a friend.
(49:26):
Folks around these parts get the time of day from
the actressent to Peak and the Santa Faith. Here's she
come head, Jim, you better get the rief. She's got
a list of passengers that's pretty big, and they'll all
(49:49):
want lifts to Brown's Hotel because lots of them traveling
for quiet a spell all the way from Philadelphi on
the Archison to peak, I'm Santa Fe.
Speaker 10 (50:15):
Chu chug Chugger, Chubby Chubby chug chugger.
Speaker 7 (50:20):
Ladder ripped, ladder rip, mister engineer, got a gold, gotta
gold far her way from here, while the man at
the fire shovels on the gold stick. Your head out
the cab, watching drive and road, see the towns and
the roads. Door whizz by family well laram talbut kerkie
high he yes to read here we.
Speaker 17 (50:40):
Are going all away quit telliad California, on the accident
of Begta.
Speaker 8 (51:10):
On the absent to.
Speaker 6 (51:12):
Be Santa.
Speaker 7 (51:20):
Here, Jimmy batter get to read. She's got a list
of passengers. It's pretty big and hell all on lists
to Brown's hotel because lots of them, and traveling for quite.
Speaker 8 (51:35):
A spell all the way down down by on the accident.
Speaker 2 (51:40):
To be sat up.
Speaker 3 (51:47):
On the Anchison. Topeka and Santa Fe written by Harry
Warren and Johnny Mercer. Johnny Mercer vocal along with the
Pied Pipers Orchestra conducted by Paul Weston Andry recorded on
the Capitol label in nineteen forty five, and thanks Norton
for that in studio request Dylan has booked to the
(52:12):
podcast area of the building, the Crystal studio, of course,
the plush radio section of the building, while podcasters falling
into the back end of the structure. Let me play
one more before we have the book.
Speaker 8 (53:31):
It takes to water like the flowers take your do
like a latin takes two ladin water.
Speaker 6 (53:40):
I take to you like a.
Speaker 8 (53:43):
Fish takes to s women like the Irish take just
like a salted takes two mac of women. I take
to you tack Moon and you and this apart.
Speaker 7 (53:58):
Of bench country.
Speaker 8 (54:00):
They are got together Monday, so do we like STA
takes to blieve like.
Speaker 2 (54:08):
Them be to the.
Speaker 8 (54:10):
Moon like an old bird takes two knights of freemen
like take to you.
Speaker 10 (54:17):
Take to you.
Speaker 6 (54:22):
Like a bride takes two chambi like a bridegroom to
wad like.
Speaker 14 (54:29):
A teacher takes two big red apple.
Speaker 11 (54:32):
I take to you Michael Culture takes two brazi like
a monkey to wazooy. Michael Scottsman takes too vunny Lanzie.
I take to you like Sweeden hot house and lot
black a door Renuky they all going together and baby
(54:55):
so to me like the does take to Juli.
Speaker 1 (55:00):
That's like Southern that takes too few men.
Speaker 10 (55:05):
Junip Man, I take to.
Speaker 13 (55:08):
You like.
Speaker 5 (55:12):
I take to you.
Speaker 3 (55:34):
On Victor Records. I take to you Jane Savat and
his Top Patterns with Jack Palmer and the Toppers providing
the vocals. Recorded on April the twenty fifth, nineteen forty one,
and folks, I have run plum out of time. Thanks
for joining me today, and thanks to Norton and Dylan
(55:56):
for serving as the studio audience here in the Crystal Studio.
To reach me Jeff at Make Believe Ballroom Radio dot com.
Jeff at make Believe Ballroom Radio dot com. For past
radio programs archived for your listening pleasure in podcast form,
go to Make Believe Ballroom Podcast dot com. That's Make
(56:18):
Believe Ballroom Podcast dot com. So until next week, this
has been Jeff Bresler.
Speaker 10 (57:46):
Just keep on dancing. Oh you've only a small room.
Speaker 8 (57:51):
Make it your ball room.
Speaker 2 (57:53):
Last Na
It's make Believe ballroom time. Put all your cares away.
All the bands are here to bring good cheer your way.
It's make Belief ballroom time and free to everyone. It's
(00:33):
no time to friend your Dalis said Bamba.
Speaker 2 (00:39):
Yours.
Speaker 1 (00:40):
Close your eyes and visual lize in your solitude. Your
favorite bands are on this dance and mister Miller, what
you're in the mood. It's make believe ballroom time. We
are a sweet romance is to make bo Come on
(01:02):
to the last dass last.
Speaker 3 (01:05):
Hello world, I'm Jeff Presler, turning on the lights of
the Make Believe Ballroom and welcoming you into my crystal
studio for another program of classic big band hits from
the nineteen thirties and nineteen forties. Whether you're listening on
the radio via great affiliates like Jazz ninety point one
WGMC in Rochester, New York, or perhaps on a podcast,
(01:30):
or maybe even on an internet radio station 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. Hi, folks, I hope you're having
(01:55):
a great day. In the case that maybe you're not,
Hopefully this song will brighten things up for you.
Speaker 4 (03:00):
The sorrow the best ever, borrow.
Speaker 5 (04:11):
Nothing nothing.
Speaker 2 (05:00):
Friends.
Speaker 3 (05:17):
If somebody asks you what swing music was, just play
them this record on our caa Victor. We just heard
Bunny Bragin and his Orchestra with Sobin Blues, recorded in
nineteen thirty eight, with some great solos provided by Buddy
himself on the trumpet, a young Ray Koniff on the trombone,
(05:40):
the clarinet of Gus Bavona, Tennor Sachs of Georgia y Auld,
and the drums of Buddy Rich the Great Bunny Beggin
a wonderful way to start this week's make Believe ballroom
off to a great start. Let's spend one naw ow
from the clam Bake seven, then some uh lightly heard
(06:05):
Glenn Miller records.
Speaker 6 (06:45):
From Midnight.
Speaker 1 (06:46):
You two leave morella bars.
Speaker 6 (06:49):
I'll be right there.
Speaker 7 (06:51):
I've got my b.
Speaker 8 (06:54):
When I see that rusty hair conductor man, I'll grab
him by the collar and now holler alabam, alabam.
Speaker 9 (07:02):
That's where you drop your train.
Speaker 6 (07:04):
That brings me back again down home where I'll.
Speaker 9 (07:07):
Remain, where my honey lamb and I will be right
there with bells.
Speaker 5 (07:13):
When not old conductor yells.
Speaker 10 (07:16):
HOLLI.
Speaker 2 (08:28):
Something not men.
Speaker 4 (08:42):
They think.
Speaker 10 (08:56):
At you.
Speaker 2 (09:00):
No, no, no no.
Speaker 3 (09:20):
When the midnight ju Chu leaves for Alabama written by
Irving Berlin, Tommy Dorsey and his clam Bake seven vocal
by Edith Wright, recorded on the Victor label in New
York City, March the tenth, nineteen thirty eight. I'm Jeff
Bresler and you're listening to the one, the only, the
(09:41):
original Make Believe ballroom broadcasting almost continuously since nineteen thirty five.
Friends' History records that the Great Glenn Miller recorded two
hundred and sixty six seventy eight RPM singles between nineteen
(10:02):
thirty eight and nineteen forty four, and in addition to that,
Glenn made a couple of a dozen V discs. If
you're not familiar with what a V disc is, it
was a record that was not for sale to the public,
but distributed exclusively to members of the Armed forces during
(10:23):
World War Two as a morale booster. So once we
get past the all time favorites of Miller, like in
the Mood, Chattanooga, Chuchuo, Moonlight, Serenade, Gallon, Kalamazoo at al.
There are so many big hits, there's also a wealth
of Glenn Miller records that have been overshadowed by those
(10:48):
monster hits that still deserve playing time. And I'm going
to offer you two on today's ballroom. And why don't
I get started with Community Swing. We just enjoyed Community Swing,
(13:50):
composed by Glenn Miller and recorded by Glenn and the
Orchestra on June ninth, nineteen thirty seven at the Brunswicks
Studios in New York City. And some fine work on
that recording by Manny Klein on the trumpet, Hal McIntyre
on the clarinet, and George T. Simon playing the drums.
(14:16):
Let's now listen to one more of Miller's more lightly
played recordings, picked from his two hundred and sixty six records.
Speaker 6 (15:18):
You clap your hands and you swing out.
Speaker 4 (15:21):
What do the d and you mix and it's never
too pulled them all together and you do on the job.
Speaker 6 (15:27):
I've always stop your feet, you swing out?
Speaker 5 (15:31):
What men around the line?
Speaker 8 (15:34):
King, It's one you won't be down.
Speaker 6 (15:35):
Everybody swinging when you're doing the job.
Speaker 5 (15:37):
If you can't play Robby or friend yours.
Speaker 6 (15:40):
To me, don't let it bother you because you'll.
Speaker 11 (15:43):
Be the king when the man begins to play.
Speaker 6 (15:45):
You'll be as money as the life money. If you
do want bob and you swing out, what drum a
little bit?
Speaker 12 (15:54):
Beat it out?
Speaker 1 (15:55):
Makes everybody?
Speaker 6 (15:56):
Tell me when you do on the job.
Speaker 10 (16:05):
It may be something, but it not the guy. It
may be something, but it's not the give. Well, what
is the giant? What is the give?
Speaker 12 (16:20):
Why?
Speaker 10 (16:20):
Man alive? The give's a give? Why I cut you
some riff and pass it too? Just what else are
we supposed to do? Take a tool now, buck, give
me a chance. You're all mixed up because the giant's
a dance. Well tell me some more.
Speaker 6 (16:33):
I'm a suck hagging you.
Speaker 10 (16:35):
Well down that horn. We'll have dancing schools.
Speaker 13 (16:38):
You lap your hands and swing out, whe go sous
you do mix in the sap duke, boat.
Speaker 10 (16:46):
It all together and doing that GiB, stop your feet
and swing out. Why that's around the while shakes. Everybody's swinging.
Speaker 8 (16:56):
What you're doing that giant?
Speaker 13 (16:58):
If you can't playing Rodney or bread, I mean, don't
let it bother you joby by in the life of
the Bie.
Speaker 10 (17:11):
And swing up one.
Speaker 13 (17:14):
A littlements beating up and make everybody's happy when you're.
Speaker 8 (17:17):
Doing that guy.
Speaker 3 (17:24):
Doing the Jive, composed by Glenn Miller and pianist Chummy McGregor,
recorded on Brunswick Records November the twenty ninth, nineteen thirty seven,
with a nice vocal provided by Kathleen Lane. So, folks,
a couple of lesser known Glenn Miller tunes. I hope
you enjoyed them, and perhaps maybe even you were listening
(17:47):
to those records for the first time. We're gonna have
a little make believe ballroom nostalgia. In just a few
moments I mentioned that the Miller tune community swing. In
that record, Many Klein was playing the trumpet. Manny was
(18:09):
indeed one of the most highly regarded and sought after
trumpet players during the big band Erin to prove that,
he played not only for Glenn Miller, but for Jimmy Dorsey,
Tommy Dorsey, Benny Goodman and Artie Shaw, among others, but
occasionally many performed with his own small group bands. And
(18:32):
here's a quickie. Manny Klein and his strangely named sextet
from Hunger with Jada Jada performed on the radio in Hollywood, California.
I'm not exactly sure what show or what year, but
here's Manny and his trumpet. Now, doctor Scravnik, I direct
(18:53):
your attention to that handsome young lad over there in
yonder corner carrying that great, big, shiny new trumpet.
Speaker 14 (18:58):
That's the right direction's my lad. In fact, it's dead
center for a bullseye, And folks, may I direct your
attention in the same direction for their stands, our special guests.
Truly one of the greatest all around musicians in my
book and many others too. Here he is, Manny Climb.
Speaker 6 (19:14):
Hey, thanks Eddie, you should bring a fellow on with
a bang, and also thanks for the nice pulled up
well Manny.
Speaker 14 (19:20):
Truth of the matter is, I met every single word
of it. I feel safe in saying that you're the tops.
Speaker 6 (19:25):
Well, put out the lights and call in the law.
This guy's really off his rocker. Well seriously though, ed
real great being here, Manny.
Speaker 14 (19:32):
I thought it would be very much in order were
you to take up that horny oars and play a
little something for the people.
Speaker 6 (19:37):
Well, as you know, I'm always willing to try. How's
about Jadda.
Speaker 14 (19:41):
That's it, Manny, we're awaiting.
Speaker 5 (20:10):
Modern.
Speaker 14 (21:29):
Thank you Mannicline.
Speaker 6 (21:30):
That was really great, and thank you Eddie. It was
a pleasure being here and I do hope you invite
me again as good as done.
Speaker 3 (21:38):
I'm Jeff Bresler, and if you're just joining us, you're
listening to the Make Believe Ballroom, an hour of classic
big band jazz and swang mixed with the stories and
tales of the big band era. I can be reached
at Jeff at Make Believe Ballroom Radio dot com. That's
Jeff at MakeBelieve Ballroom Radio dot com. And speaking of
that email address, here is an email from a listener
(22:01):
received last week. It says, Hi, Jeff, we're a couple
of longtime listeners from Sweden, Sweden, New York. That is
gateway to Clarendon, which I personally know this is me
talking now. I personally know that that's not that far
from sunny Brockport, the New York State University, entrenched deep
(22:26):
in the frozen tundra of New York State. Back to
the email. One of the things that amazed me, and
that I've never heard anyone ask about is the remarkable
audio quality of the music you and Lenny from down
the Block share each broadcast. So many of these recordings
made in the thirties and forties sound brand new, clear
(22:49):
and bright. Where do you find classic ancient recordings without
things and scratches and the clicks and pops common on
decades old shellac? Seventy eight RPMs? Are these tracks that
have been remastered and re released on vinyl without its
own variety of unwanted noises or orre They converted to
(23:14):
digital and cleaned up and archived that way. Inquiring minds
want to know. Thanks waiting for the crystal ballroom lights
to sparkle again this week, and it says local regards
Rick Blank. And Rick does indeed have an email signature
(23:35):
indicating that he is familiar with the college at Brockport
and thanks Rick for your question. So we use a
number of sources to obtain recordings here Lenny from down
the Block he has an enormous collection of both seventy
eight's and LP big band and general jazz albums. Any
(24:00):
of the records we play we do place on an
actual turntable and Audio Technica brand turntable here in the
Crystal Studio, all in their scratchy, original magnificence. Now, Lenny's son,
Chris has done a great job restoring many of these
recordings and placing them on MP three's He's done this
(24:23):
over the years, removing the scratches to the best of
his ability and certainly working his magic to provide the
best sound possible. So many of you know Lenny now
lives has retired and lives in Tampa, and Chris in
his basement, has maintained Lenny's complete collection. Many of the
(24:47):
songs we play are from also from easy to find
sources like YouTube and archives dot org, and many we
get through Lenny's network of seventy eight RPM friends and
groups and they are shared and exchanged. Lenny sends recordings
(25:10):
to them, they send recordings back to us, and a
piece I Am going to play in a moment a
piece of make believe ballroom radio nostalgia I originally was given.
The piece I'm going to play is a reel to
reel and we converted that to an MP three. The
(25:31):
brains of the operation, though, is the literally thousands of
MP three transferred recordings we have on drives that are
stored on our Make Believe Ballroom playlist computer and referenced
in various ways to find what we need, so a
(25:52):
number of different avenues to obtain the music we play
here on the ballroom, and unfortunately have overstayed my welcome
by too much talk and not enough music. Let me
play one more then for you Reck and my friend
and dedicated listener in Italy one Max Catani. I will
(26:14):
play the real to real piece of Make Bullyeve Ballroom
nostalgia and the story behind it. But first.
Speaker 6 (26:44):
I can swing and I can jam.
Speaker 12 (26:49):
I'm mc guiladilla, Yes I am. Well when you learn it,
you'll be brown. Join the crowd, swing out loud. Some
folks say that swing books stay and it's dying now,
but I can't prove it them to prove them, they
don't know what they're talking about.
Speaker 10 (27:11):
What is it?
Speaker 12 (27:13):
A dude like Susan Cue?
Speaker 10 (27:17):
If I can't do with so can you?
Speaker 5 (28:07):
Sar Citizen.
Speaker 3 (28:11):
Ser from Decca Records, Wham Andy Kirk and his twelve
(29:25):
Clouds of Joy with the June Richmond Vocal recorded on
January the second, nineteen forty in New York City. And
now finally the bit of Make Bully Ballroom radio nostalgia
I have been attempting to but have failed to produce
for you so far. So this piece to Rick's question,
(29:49):
I obtained reel to reel several years ago, where it
eventually became transferred to an MP three. Now Max Catani,
our listener in Italy. He sent me an email a
little while back asking if I have more Make Believe
Ballroom radio nostalgia to listen to. So on the original
(30:11):
Make Believe Ballroom starring the legendary DJ Martin Block, a
segment was developed called Make Believe Ballroom Jam Sessions that
were played live in the WNW studios in New York
City during select broadcasts of The Ballroom. Now, of course,
(30:32):
the Ballroom played mostly records, but on occasion did have
these amazing sessions featuring some of big band's finest musicians.
Everyone from Benny Goodman to Tommy Dorsey and Jimmy Dorsey,
count Basie Coleman Hawkins to everybody in between. Many many
(30:57):
big names in the industry appeared on these segments over
the years. Today, I want to play for you with
session in which the Benny Goodman Trio shined here featuring
Benny on the clarinet, Teddy Wilson playing the piano, Gene
Krupa on the drums, with the song titled Runnin' Wild.
Speaker 13 (31:17):
Now.
Speaker 3 (31:17):
This number was performed live on the Ballroom during a
special Fletcher Henderson a Jam Session tribute presented by Martin
Block on April first, nineteen fifty one. Running Wild during
(35:03):
the special Fletcher Henderson Jam Session on wne W Radio
eleven three to zero in New York, featuring Benny Goodman,
Teddy Wilson, and Gen Crouper. And I do believe, if
I'm not mistaken, then that was the first time that
Gene Crouper you reunited with Benny Goodman to play with
(35:26):
the trio since they split in the spring of nineteen
thirty eight. So a little nostalgic make believe Ballroom Radio.
Here's some what is it? Some seventy four years later
on the still Live and Breathing twenty first century edition
of the program. And now let's move on to what
(35:53):
do we have?
Speaker 15 (35:53):
Oh?
Speaker 3 (35:53):
Yeah, I just remembered after last week's show, I received
two or three emails else asking for more Ethyl Waters. Now,
if you recall, I played Ethyl singing taking a Chance
on Love during a segment on the Great Big Band
era tap dancer Bill Bailey. I guess we never really
(36:16):
played Ethyl Waters on the ballroom, but the segment earned
for her. I assume some new fans, So for you guys,
a little more Ethyl Waters.
Speaker 9 (36:40):
I don't care what the.
Speaker 1 (36:42):
Weather man says.
Speaker 10 (36:43):
When the weather man says it's.
Speaker 1 (36:45):
Raining, you'll never hear me complaining. I'm certain the sun
will shine.
Speaker 8 (36:52):
I don't care how the weather van points.
Speaker 6 (36:55):
When the weather van points, do you gloomy?
Speaker 10 (36:58):
It's gotta be sunny to me?
Speaker 12 (37:00):
When your eyes look into mindjeebers, creepers, where'd you get
those weepers?
Speaker 2 (37:10):
Jeepers, creepers?
Speaker 10 (37:13):
Where'd you get those eyes?
Speaker 8 (37:16):
Guy shall kid off?
Speaker 12 (37:19):
How to get so litle goshall kid off?
Speaker 6 (37:24):
How they hypnotized?
Speaker 10 (37:28):
Golly Geeve when you turn those heaters on?
Speaker 5 (37:33):
Why is.
Speaker 12 (37:36):
God putting my cheeters on?
Speaker 2 (37:39):
Cheepers?
Speaker 10 (37:40):
Creepers?
Speaker 7 (37:42):
Where'd you get those weepers?
Speaker 1 (37:45):
All those weepers?
Speaker 12 (37:48):
How the hypnot ties?
Speaker 6 (37:50):
Where did you get those eyes.
Speaker 10 (37:56):
Down?
Speaker 4 (38:04):
That got it?
Speaker 5 (38:16):
But I did that day?
Speaker 10 (38:28):
That then?
Speaker 2 (38:35):
What all?
Speaker 5 (38:36):
Right?
Speaker 3 (38:36):
Now?
Speaker 6 (38:43):
Golly gee Wayne turned those keeter zone? Who got put
my cheetahs escapers?
Speaker 2 (38:56):
Right?
Speaker 10 (38:57):
Get those.
Speaker 5 (39:00):
Those weepers?
Speaker 10 (39:02):
Have you not die?
Speaker 11 (39:04):
Where did you get a di?
Speaker 10 (39:09):
Jeep and Creepers Big Black?
Speaker 3 (39:14):
From Bluebird Records. Believe it or not, Ethel was the
first to record this song, Jeepers Creepers music written by
Harry Warren with lyrics by Johnny Mercer, recorded in New
York City November the ninth, nineteen thirty eight. Now, many
of you may know that Louis Armstrong recorded his version
(39:38):
on January eighteenth, nineteen thirty nine. His was, of course
the most famous, but Ethel Waters actually beat him into
the recording studio and became the first ever to record
Jeepers Creepers. I'm Jeff Bresler. Thanks for joining me today
on the Make Believe Ballroom Jeff at Makebelie Ballroom Radio
(39:59):
dot com, Jeff at Makebully Ballroom Radio dot com. And
to hear past archived radio programs in podcast form, go
to www. Makebully Ballroom podcast dot com. That's Makebully Ballroom
podcast dot com. And now, from his palatial condo in Tampa, Florida,
(40:22):
the beach Bomb himself, the Platter Prince, the producer emeritus
of the Make Bully Ballroom, Mister Excitement Lenny from down
the Block with his record Pick of the Week.
Speaker 15 (40:37):
Hi gang, Lenny from down the block, here with my
record pick of the week. Massachusetts born Al Donahue was
a fan favorite during his tenure as a bandleader, Beginning
in the early nineteen thirties. Al had a long career
that extended to his band working on cruise ships all
the way into the nineteen sixties. Donnie, who spent the
(40:57):
nineteen thirties leading a successful the orchestra before giving it
all up in late nineteen thirty nine to play swing.
Donahue kept swinging away throughout the war years, but his
new style ultimately failed to capture the public's attention, and
in nineteen forty six he returned to sweet music. His
band is best remembered today for vocalists Phil Brito and
(41:21):
Paula Kelly. I've chosen for you a record from Donahue's
swing years here on Vocalian Records, featuring a Filibrito vocal
is the El Donahue orchestras The Man with the Mandolin,
recorded in nineteen thirty nine.
Speaker 9 (42:20):
Billium Bum Bum, bitterly m Bum, It comes the Man
with the Mandol and bitterly m bum Bum, bitterly um Bum.
He'll sure you up till your ship comes in. Couple
of cello playing an old chill. He comes around every afternoon,
raggedy old minstrel wearing a big grin. You loved the
man with the mandle and all the kids father, all
(42:43):
the kids hollering to the windows of a mama throw
a nickel and the mantle pick a little tune. We
love bitterly. I'm bum bum bitterly, I'm bum hopefully your
heart left the music, and bitterly I'm bum bum bitterly.
Speaker 10 (43:01):
There goes the man with the man.
Speaker 3 (43:49):
Thanks money. We look forward to hearing from you again
next week. So, while I was playing that fine Al
Donahue recording the studio audience quote unquote here in the
Crystal Studio today consisting of the always here, today, Gone tomorrow.
(44:09):
He hasn't been here in a long time. I am
talking about don't call me Ed Norton, my first name
is Norton, and the snunty kid himself, twenty one year
old gaming podcast superstar Savant Dylan, who pops his head
into the Crystal studio as he waits for his own
studio to be available to record his said podcast. So
(44:32):
the gruesome twosome here asked for more WNW Radio Make
Believe Ballroom Jam sessions, and I will certainly in a
moment to honor their requests. Now, Norton, Norton is dressed
properly for the program, is befitting a member of a
studio audience, flannel shirt button to the top, even though
(44:58):
it is hot outside, very hot, and as a matter
of fact, also deck down in a very nice looking
tractor supply baseball cap. But my friend Dylan, Dylan kids
don't know how to dress, so I won't even discuss
the garments you are wearing today. But the common link
here is not clothing, It is music, and the common
(45:22):
request more of the Martin Block Make Believe Ballroom Jam sessions.
Speaker 5 (46:01):
You don't have any.
Speaker 16 (46:06):
Let you tell anything. They fall such a.
Speaker 2 (46:20):
Very little sad, They f a many you.
Speaker 3 (47:47):
Another Martin Block w New Make Believe Ballroom Jam session
from the November sixteenth, nineteen thirty eight broadcast of the program,
with a truly exceptional dream band Benny Goodman, Lester Young,
Roy Eldridge, Teddy Wilson, Ben Heller, Sid Weiss, and Joe Jones.
(48:09):
So I hope both you Norton, don't call me Ed Norton.
My first name is Norton and Snottie Kid Dylan enjoyed
that jam session, and Norton I will. Since we have
some time left, let you pick a song you would
like to hear from the big band era.
Speaker 17 (48:29):
You're going to get snarky because you played it a
few months ago on the adjacent Topeka Santa Fe with
the Johnny Mercer vocals.
Speaker 5 (48:37):
Since you played Warren and Mercer earlier with Ethel Waters.
Speaker 3 (48:40):
I don't get snarky, and it is also one of
my favorites.
Speaker 7 (49:03):
Do you hear that whistle down line? I figured that
it's a number fourty and she's the only one that'll
sound that way. On the chi cent to Peak and
Santa Fe, see the old smoke rising round the bend,
I reckon that you knows she's going to meet a friend.
(49:26):
Folks around these parts get the time of day from
the actressent to Peak and the Santa Faith. Here's she
come head, Jim, you better get the rief. She's got
a list of passengers that's pretty big, and they'll all
(49:49):
want lifts to Brown's Hotel because lots of them traveling
for quiet a spell all the way from Philadelphi on
the Archison to peak, I'm Santa Fe.
Speaker 10 (50:15):
Chu chug Chugger, Chubby Chubby chug chugger.
Speaker 7 (50:20):
Ladder ripped, ladder rip, mister engineer, got a gold, gotta
gold far her way from here, while the man at
the fire shovels on the gold stick. Your head out
the cab, watching drive and road, see the towns and
the roads. Door whizz by family well laram talbut kerkie
high he yes to read here we.
Speaker 17 (50:40):
Are going all away quit telliad California, on the accident
of Begta.
Speaker 8 (51:10):
On the absent to.
Speaker 6 (51:12):
Be Santa.
Speaker 7 (51:20):
Here, Jimmy batter get to read. She's got a list
of passengers. It's pretty big and hell all on lists
to Brown's hotel because lots of them, and traveling for quite.
Speaker 8 (51:35):
A spell all the way down down by on the accident.
Speaker 2 (51:40):
To be sat up.
Speaker 3 (51:47):
On the Anchison. Topeka and Santa Fe written by Harry
Warren and Johnny Mercer. Johnny Mercer vocal along with the
Pied Pipers Orchestra conducted by Paul Weston Andry recorded on
the Capitol label in nineteen forty five, and thanks Norton
for that in studio request Dylan has booked to the
(52:12):
podcast area of the building, the Crystal studio, of course,
the plush radio section of the building, while podcasters falling
into the back end of the structure. Let me play
one more before we have the book.
Speaker 8 (53:31):
It takes to water like the flowers take your do
like a latin takes two ladin water.
Speaker 6 (53:40):
I take to you like a.
Speaker 8 (53:43):
Fish takes to s women like the Irish take just
like a salted takes two mac of women. I take
to you tack Moon and you and this apart.
Speaker 7 (53:58):
Of bench country.
Speaker 8 (54:00):
They are got together Monday, so do we like STA
takes to blieve like.
Speaker 2 (54:08):
Them be to the.
Speaker 8 (54:10):
Moon like an old bird takes two knights of freemen
like take to you.
Speaker 10 (54:17):
Take to you.
Speaker 6 (54:22):
Like a bride takes two chambi like a bridegroom to
wad like.
Speaker 14 (54:29):
A teacher takes two big red apple.
Speaker 11 (54:32):
I take to you Michael Culture takes two brazi like
a monkey to wazooy. Michael Scottsman takes too vunny Lanzie.
I take to you like Sweeden hot house and lot
black a door Renuky they all going together and baby
(54:55):
so to me like the does take to Juli.
Speaker 1 (55:00):
That's like Southern that takes too few men.
Speaker 10 (55:05):
Junip Man, I take to.
Speaker 13 (55:08):
You like.
Speaker 5 (55:12):
I take to you.
Speaker 3 (55:34):
On Victor Records. I take to you Jane Savat and
his Top Patterns with Jack Palmer and the Toppers providing
the vocals. Recorded on April the twenty fifth, nineteen forty one,
and folks, I have run plum out of time. Thanks
for joining me today, and thanks to Norton and Dylan
(55:56):
for serving as the studio audience here in the Crystal Studio.
To reach me Jeff at Make Believe Ballroom Radio dot com.
Jeff at make Believe Ballroom Radio dot com. For past
radio programs archived for your listening pleasure in podcast form,
go to Make Believe Ballroom Podcast dot com. That's Make
(56:18):
Believe Ballroom Podcast dot com. So until next week, this
has been Jeff Bresler.
Speaker 10 (57:46):
Just keep on dancing. Oh you've only a small room.
Speaker 8 (57:51):
Make it your ball room.
Speaker 2 (57:53):
Last Na
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