August 1, 2025 • 58 mins
This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - a historic big band colaberation, a singing sisters nick name for a wildly popular comic and bandleader, listners emails, 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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Episode Transcript
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Speaker 1 (00:12):
It's make believe ballroom time.
Speaker 2 (00:15):
Put all your cares away.
Speaker 1 (00:19):
All the bands are here to bring good cheer your way.
Speaker 2 (00:25):
It's make belief.
Speaker 1 (00:27):
Ballroom time and free to everyone. It's no time to
friend your Dalis.
Speaker 2 (00:35):
Said Bamba.
Speaker 3 (00:39):
Yours.
Speaker 1 (00:40):
Close your eyes and visual lize in your solitude.
Speaker 4 (00:46):
Your favorite bands are on this dance and mister Miller,
what you're in the mood?
Speaker 1 (00:52):
It's make believe ballroom time. We are a sweet romance
is to make come on to the last das last.
Speaker 5 (01:06):
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 on
the radio via great affiliates like Jazz ninety point one
WGMC in Rochester, New York, or maybe enjoying the show
(01:30):
on a podcast or even on internet radio in the
United Kingdom, anyway you've arrived. I'm delighted as I get
ready to 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,
(01:56):
I hope you're all having a great day. You're all,
in my estimate, a bunch of great cats, and Roy
Eldridge wants you to join in.
Speaker 6 (02:19):
Hop in that older lop and hid for them all
that shop, and all the cats join, and down goes
my last two bits. Come up, one banana split, and
all the cats.
Speaker 7 (02:38):
Join, and.
Speaker 6 (02:41):
Drop your jack in that old juke box.
Speaker 7 (02:44):
Playing your favorite disc.
Speaker 6 (02:47):
When you dance with the Bobby Socks, you dance, dance
your own ris rip. Everybody swings, yes, swing till the
rafters ring.
Speaker 2 (02:57):
And all the john laving.
Speaker 5 (04:52):
All the cats join in Roy Eldridge and his Orchestra
with a buster harding vocal recorded on Decor Records, January
the thirty first, nineteen forty six. And that was an
upbeat way to get this week's edition of the Make
Believe Ballroom underway.
Speaker 4 (06:07):
Movie Them.
Speaker 5 (06:16):
Some Friends. We just heard Sunny Burke and his Orchestra
(07:58):
with Jumping sult on Okay Records, recorded in nineteen forty
Now Sonny Burke. Sonny, unfortunately is a name pretty much
forgotten today, but certainly for decades he was a superb
musical arranger. He was composer, bandleader and record producer. Now
(08:23):
during the thirties and forties, he was a big band
leader in New York, and at one point he took
over Sam Donna Hugh's band when Sam decided to leave
his own band to move on to work with Gene Kruper.
Now during the forties and fifties, Sonny Burke worked as
(08:47):
a band arranger for the Charlie Spivak and Jimmy Dorsey orchestras,
amongst others. In nineteen fifty five, he Sonny wrote, along
with Peggy Lee, the songs to Disney's Lady and the Tramp.
Many of you might not realize that the great legendary
(09:08):
vocalist Peggy Lee was also very talented composer. But getting
back to Sonny, I think his most well known work
actually came as a record producer and musical director. Sonny
was the musical director for Reprise Records, and there was
responsible for many of Frank Sinatra's greatest albums. He was
(09:34):
also a bandleader for recordings of such great vocalists as
Ella Fitzgerald and Mel Tormae. Going back to his big Banddaize.
Sonny made sixteen titles for OK Records in nineteen thirty
nine and nineteen forty, and he had a great quote
(09:56):
that I had read regarding that record contract with Okay.
Sonny said during an interview about his period with Okay,
he said, quote unquote, we didn't have any hits. We
just made good records. So a little about Sonny Burke,
and he did indeed make some very good records. Sunny
(12:57):
Burke and his orchestra Jimmy Meets the Count, also titled
Love is a Wonderful Thing recorded on OK Record September third,
nineteen forty and a great contrafact in there, as Sunny
Burke used the great Count bases one o'clock jump. I'm
Jeff Bressler, and you're listening to the one, the only,
(13:19):
the original Make Believe Ballroom broadcasting almost continuously since nineteen
thirty five. And to reach me, I'm Jeff at Make
Believe Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroomradio
dot com. And in a little while to listeners, emails
will be read across these very airwaves.
Speaker 3 (14:24):
Hello, don't mean.
Speaker 5 (14:39):
The we talked about Sunny Bark taking over Sam Donahue's
(15:58):
band when Sam left to go to work for a
Gene Krupa. And now I play for you a Gene
Krupa classic we just heard on Brunswick Records, wire Brush
Stomp Gene and the Orchestra, recorded in New York City,
June the second, nineteen thirty eight, and no explanation is
due as to why that record was called wire Brush Stomp.
(16:23):
Some great wire brush work there by the legendary mister Krupa.
I said, I wanted to read two emails. Let me
cover I'm not going to do both now. Let me
cover one now, then the second one a little later
on in the show No One I'm about to read.
This is such a sweet email. It reads, Dear mister Bresler,
(16:48):
you could call me Cheff. I think the last time
anyone called me mister Bresler is probably when I was
audited it a number of years ago by the IRS.
But that's different story. But back to the email, Dear
mister Bresler. I started listening to The Make Believe Ballroom
last year and I have really enjoyed it ever since.
(17:11):
I now listen with my husband and we often dance
along to the music. I started taking swing dance classes
a few years ago when I was a teenager, and
I eventually brought along my boyfriend now husband, as we
both love music from the Big Band era. We are
(17:32):
celebrating two events this month, our first wedding anniversary and
my husband's birthday. He'll be twenty two. Please would you
give a shout out to my lovely husband, Mario. He's
a wonderful man and I love him with all my heart.
I'm so glad to have found my dance partner. Thank
(17:54):
you for hosting the Make Believe Ballroom. We've learned so
much about the history of the Big Band and era
from you and that signed Mario and Moya Natsumi out
of San Francisco. So Mario and Moya, you don't know
how happy it makes me. It makes me feel to
(18:16):
know that you two so young in years, are devoted
listeners to the Make Believe Ballroom. It's important you keep
on swing dancing and listening to this music so you
can keep it alive from many generations to come. And
to you, Mario, one big happy birthday wish, and in
(18:39):
honor of your anniversary, I play for you this song.
Speaker 3 (19:46):
Oh how We danced on the night. We were well.
Speaker 2 (19:54):
Revved.
Speaker 7 (19:56):
Our true law loo ward wasn't.
Speaker 3 (20:04):
The world was in blue.
Speaker 8 (20:08):
There were stars in the skies, accents for the few
that were there.
Speaker 7 (20:19):
In your As I held you, saw cold in my arm.
Speaker 8 (20:32):
Angels were singing on him to your charm.
Speaker 6 (20:40):
To.
Speaker 3 (20:42):
Stadly beating wing, my darling.
Speaker 7 (20:52):
I loved you, so.
Speaker 3 (21:00):
I seemed to blesson news.
Speaker 8 (21:15):
Layne, good.
Speaker 7 (21:19):
Bye weed Bye. That along is on older by.
Speaker 5 (21:34):
Time on Victor Records. We just heard the anniversary song
by Tex Bennecke with the Glenn Miller Orchestra vocal by
(21:57):
Gary Stevens and the Mellow Larks, recorded in nineteen forty seven,
and of course, after the tragic disappearance and ultimate demise
of Glenn Miller during World War Two, the Miller family
wanted to keep the heritage of the Miller Orchestra alive
and asked Tex Beneke at that time to take the lead.
(22:22):
And that song we just heard, the anniversary song made
famous initially by the great Al Jolson. So once again,
happy birthday to you, Mario, and happy anniversary to you
Moya as well as Mario. To reach me, I'm jeff
at make believe Ballroomradio dot com. That's Jeff at Make
(22:43):
Believe Ballroomradio dot com. Please email me with your requests, stories, birthdays, anniversaries,
whatever you want. I'll be happy to read it on
the air. And now from his office in his condo
and an unknown location in Tampa, Florida, is the retired
(23:06):
producer emeritus of the Make Believe Ballroom. I used to
call him the record rack and tour and the platter Prince.
I'm talking about mister Excitement himself. Lenny from down the
Block with his record pick of the week.
Speaker 9 (23:23):
High Gang, Lenny from down the Block here with my
record pick of the week. We often play here on
the Ballroom music from singing sisters like the Boswell King
and Andrews Sisters, a group somewhat overlooked because of a
lack of actual records, waxed as the DeMarco Sisters. The
Demarcos started out as a trio and evolved into a
quintet as the two younger sisters eventually joined the group.
(23:47):
Most of the DeMarco's work came on the radio and
in short musical films. They reached the pinnacle of their
success appearing weekly on The Fred Allen Show in the
mid to late nineteen forties. Here are the Demarcos from
a Fred Allen radio broadcast on October twenty eighth, nineteen forty.
Speaker 10 (24:06):
Five, and now from the musically ridiculous McGee and McGhee.
We go to the melodic sublime the five DeMarco Sisters,
with my strow Al Goodman safely atop his podium conducting
the kids sing California sun Beat.
Speaker 4 (24:20):
Whoab is about the Glamoris?
Speaker 11 (24:28):
I'm be I'm all right, whether it being haven't madeen?
Speaker 1 (24:34):
At the other night the Glamori is on bet Bobby game.
Speaker 11 (24:43):
Give me awaying still I and at the.
Speaker 10 (24:45):
Other end donalmon we the mid mona dudell awe can
hear the old allig.
Speaker 11 (24:58):
Bet be the calaman If I'm bee in a minute,
I do, we'll be drinking I throw, so they'll be
waiting for my stupy farm.
Speaker 3 (25:09):
My friend.
Speaker 11 (25:10):
He's wearing an I Nia California. I'ma being my very back.
Speaker 3 (25:21):
Good dude.
Speaker 11 (25:24):
Winning on the mountain as against the back gallup. I'll
find you some be in a minute, I do, We'll
be streaking out through So man be waiting my strepy
parm do me do my friend. He's wearing an I
Nia California.
Speaker 3 (25:45):
Sign Me Me to My Baby.
Speaker 7 (25:50):
Back Pa.
Speaker 5 (25:58):
Thanks Lenny for your report and the swing in DeMarco's
sisters on the radio. Now, you know, there's a great
story about one of the DeMarco sisters. Back in nineteen
fifty two, Jackie Gleason of Honeymooner's Fame and the Jackie
(26:21):
Gleason Show, Well, he was interviewed by The American Weekly. Now,
the American Weekly was a popular Sunday magazine newspaper. Insert.
I never read it, but it was much, from what
I understand, like Parade Magazine, which many of you, my
(26:42):
baby boomer era friends may remember when it was in
all its full splendor Parade magazine. So Gleason said in
the interview with The American Weekly that Anne DeMarco, one
of the singing sisters, told him during a rehearsal for
a show in nineteen fifty one that he Gleason was
(27:07):
the greatest, and de Marco walked up to Gleason and said,
you are the greatest. Well, Jackie loved that, and he
used that title along with the great one for the
rest of his career in identifying himselves. The Demarcos at
the time they were on tour with Gleason one and
coined that phrase. And of course Jackie Gleason loved music,
(27:32):
and he cut many albums in the fifties and sixties
with he himself, the great one, the Greatest as the
maestro on those LP albums. So neat little tale about
Jackie Gleason and DeMarco. Now let me mention the Boswell sisters.
(27:55):
And since then I've had there when I take my
sugar to tea, a great record of theirs playing in
my mind. So why don't I now transfer that tune
from my mind into the record.
Speaker 12 (28:25):
I'm just a little Jackie Honor and.
Speaker 1 (28:30):
My game, A gang of mine has been the Dylan
the dey Vilins.
Speaker 12 (28:41):
I left the lamplight on that old corner all name
my world's name. I'm doing things I never.
Speaker 7 (28:52):
Did.
Speaker 12 (28:56):
Why not take my uga do teams.
Speaker 7 (29:00):
All the boys are jealous of me because.
Speaker 12 (29:04):
I'll never take a where the gangles when I take
my sugar dooty.
Speaker 11 (29:12):
I'm a Rodi Stody said me. She's a high hat
baby ates. So I never take a where the gangle
when I take my sugar Dooty.
Speaker 12 (29:28):
Every Sunday after nude, we forget about our care. Robbin
elbows at the wrist with a millionaires. When I take
my sugarooty, I'm as rizy now as I can because I.
Speaker 4 (29:51):
Never take a where the gang when I take.
Speaker 12 (29:56):
My sugar dooty form for won well take my sugar
(30:34):
doot teach all the boys and jills, I mean all,
and never take a where the gang goes.
Speaker 11 (30:39):
Well to take my sugar doot gee, I'm a.
Speaker 12 (30:41):
Riding out that I see she's a high baby that
she some one ever take awhay the gang goes When
I take my sugar doot tee. Robin albows at the
(31:02):
risk without wed my sugar Twodney ay Bob A wedding.
Speaker 11 (31:10):
Gang O Wednesday.
Speaker 5 (31:17):
On Brunswick. When I take my Sugar to Tea by
the Boswell Sisters accompanied by the Dorsey Brothers Orchestra, recorded
in New York City, March the nineteenth, nineteen thirty one.
So now as I look at my notes, why don't
(31:40):
I now read for you? Another email I received this
past week. It's from Larry Jeffries, who listens in Philadelphia, Pennsylvania,
and Larry asks inquiring minds want to know, did Fletcher
Henderson ever play with Benny Goodman or vice versa?
Speaker 13 (32:03):
Ps?
Speaker 5 (32:05):
Are you the same Jeff Bresler who raced harness horses
at the now long defunct Liberty Bell Racetrack in Philadelphia.
So to answer your second question first, yes, I confess
I occasionally drove harness horses at Liberty Bell Park. How
(32:27):
you came up with that one, Larry, is certainly beyond me.
I raced and trained harness horses for over twenty years,
mostly at Roosevelt and Yonkers Raceways in New York, as
well as Monticello Raceway in upstate New York in the
Catskill Mountains and Brandywine Raceway in Delaware. I do remember, actually,
(32:54):
come to think of it, getting suspended at Liberty Bell
for letting a horse pass me needlessly on the inside.
I don't think I ever won a race though at
Liberty Bell. But thanks for those memories, Larry, you must
have been a big racing officionado. And now to your
(33:18):
main question asking if Fletcher Henderson ever played with Benny
Goodman or vice versa, and well, yes and no is
the answer. Benny Goodman did record with arrangements written by
Fletcher Henderson, but not as a direct collaboration on the
(33:38):
same record. So although Fletcher did play in Benny Goodman's
orchestra as an occasional pianist, I think even played a
little while with the Benny Goodman sex stet. But as
I mentioned, Larry Fletcher's contributions to Benny came more in
the way of writing arrangements, and it's really very interesting
(34:01):
about how that came about. Let me play one by
Fletcher Henderson and his orchestra. Then the story of how
the Goodman Henderson partnership came about on Decca Records. Wrapping
(36:52):
it up. Fletcher Henderson's Orchestra recorded in New York City
on September the twelfth, nineteen thirty four. So how did
Fletcher Henderson hook up with Benny Goodman. Well, in nineteen
I think it was nineteen thirty five, Benny's orchestra was
(37:12):
selected to lead the house band for the NBC radio
program Let's Dance. So since Benny now needed new charts
every week for the show. Obviously, when Benny was out
on the road playing in ballrooms, barnstorming across the country
(37:33):
was basically playing the same songs show in show out,
week in, week out, but now on the radio. Obviously
he can't play the same music every week, so he
needed new charts, and he really wasn't prepared to produce
that amount of music at the time. So we went
(37:53):
to his good friend John Hammond. And I don't know
if this was before or after John Hammond's sister married Benny,
but nevertheless, John Hammond was a great, well known New
York City jazz empresario. He virtually knew everyone in the
(38:15):
business and everyone loved John, and John suggested that he
Benny Goodman purchase some charts from Fletcher Henderson. So many
of Goodman's hits from the swing era and actuality were
previously played by Fletcher Henderson in his own band back
(38:37):
in the late twenties and early thirties, usually his head
arrangements which he transcribed from his own records, and then
he sold them to Benny for I think the amount,
if I'm not mistaken, was a grand total of right
around twenty five dollars for each arrangement. So for the
(38:57):
reasonable price of just twenty five five dollars, Benny Goodman's
band used several arrangements by Fletcher on the radio, including
what would become a big Goodman hits like King Porter Stomp,
Sometimes I'm Happy and Down South Camp Meeting.
Speaker 10 (39:17):
Now.
Speaker 5 (39:18):
Henderson's arrangements were really crucial to Benny's success in launching
the swing era, and Benny often credited Fletcher for much
of his band's early popularity. So why not now one
of those Henderson collaborations for you on Victor Records. Down
(42:56):
South Camp Meeting by Benny Goodman and his orchestra record
in Hollywood, August thirteenth, nineteen thirty six. And you know,
while I was playing that Goodman tune, another piece by
Benny was playing in my head. When I was in
(43:16):
high school in my high school band, and as an
aside in that band was the late great jazz scholar,
record producer and radio host Phil Shapp He played the clarinet. Well,
it was another kid in the band that was a
clarinetist whose name I have really tried to remember over
(43:40):
the years. I just can't remember it, unfortunately. But this guy,
before each practice would warm up or attempt to warm up,
by imitating Benny Goodman by playing a piece of a
music hall rag. So if you'll indulge me for a moment,
(44:01):
So I could get that tune out of my head.
Here again Benny Goodman and his Orchestra with a record
issued via Columbia Music Hall RAG, recorded in New York
City November the twenty sixth, nineteen thirty four.
Speaker 4 (45:26):
Father Got of Other Pat.
Speaker 2 (45:46):
Got a.
Speaker 5 (47:19):
Honey Goodman's Music Hall Rag. I am Jeff Bresler. I'm
not in a music hall, but in the Crystal Studio.
And just as a quick reminder, past shows of the
Make Believe Ballroom, once they're played on our fine affiliated
radio stations, are then transferred into podcast form. If you
(47:39):
go to Make Believe Ballroom Podcast dot com that's MakeBelieve
Ballroom Podcast dot com, you can listen to past programs
in the series.
Speaker 2 (47:50):
And now.
Speaker 5 (47:52):
On last week's show, I played to what I considered
to be lightly played Glenn Miller songs. And prior to
that show, I had posted on a Facebook group, that
great Facebook group Swing and Traditional Jazz, that I would
(48:12):
be playing a couple of lightly played Glenn Miller songs
and there was a comment from one R. J. Lunny,
who was hoping I would have played well. In his
own words an anticipation of the show said, quote unquote,
I'd better be playing Sliphorn Jive and Caribbean Clipper. I
(48:36):
played neither of those, so for you, mister Lunney, right now,
I will play both to satisfy you. First, why don't
we play this one, says.
Speaker 7 (49:52):
You?
Speaker 5 (50:37):
Name a Blueberg record, Slipped Horn Jive by the Glenn
(51:59):
Miller Orchestra, recorded June the second, nineteen thirty nine in
New York City. An Adi Durham composed peace and now
for your second request.
Speaker 2 (53:00):
They didn't.
Speaker 5 (54:46):
Caribbean Clipper Glenn Miller and his Orchestra recorded for Victor
Records July the fourteenth, nineteen forty two. That was actually
a great record, but it ended up being on the
Beasts on the A side of that Victor record was
a tune called Blue Rain. So, mister Luney, I hope
(55:10):
I'm made up for not playing those two songs slip
Horn Jive and Caribbean Clipper on last week's program. And
it is now time to take a look at the
big bull of a clock on the wall here in
the Crystal studio to determine if we have time left
(55:30):
for another tune, and unfortunately we are out of time.
It's been my pleasure having you come into the Crystal
Studio joining me for this past hour of stories and
music from the Big Band era. To reach me like
Moya and Mario and Larry Jefferies did. It's simple process.
(55:53):
Just emailed Jeff at make Believe Ballroomradio dot com. That's
Jeff at make Believe Ballroom Radio di dot com. You
could also go to make Believe Ballroom podcast dot com
Make Believe Ballroom podcast dot com to hear past shows
in podcast form as well as record a message to
be played on the show. Just go to the microphone
(56:15):
icon on the lower right hand corner of the page
at MakeBelieve Ballroom Podcast dot com. So, folks, until next week.
This has been Jeff Bresler.
Speaker 7 (56:28):
I can see it your glance room.
Speaker 13 (56:34):
For a while with playing and the man is playing
music tappy show. If you bro tender, sweetly surrender my
willing let go with totally a small room, you know,
make me leave ball room.
Speaker 7 (56:52):
Let's uppish
Speaker 3 (57:59):
Blush
It's make believe ballroom time.
Speaker 2 (00:15):
Put all your cares away.
Speaker 1 (00:19):
All the bands are here to bring good cheer your way.
Speaker 2 (00:25):
It's make belief.
Speaker 1 (00:27):
Ballroom time and free to everyone. It's no time to
friend your Dalis.
Speaker 2 (00:35):
Said Bamba.
Speaker 3 (00:39):
Yours.
Speaker 1 (00:40):
Close your eyes and visual lize in your solitude.
Speaker 4 (00:46):
Your favorite bands are on this dance and mister Miller,
what you're in the mood?
Speaker 1 (00:52):
It's make believe ballroom time. We are a sweet romance
is to make come on to the last das last.
Speaker 5 (01:06):
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 on
the radio via great affiliates like Jazz ninety point one
WGMC in Rochester, New York, or maybe enjoying the show
(01:30):
on a podcast or even on internet radio in the
United Kingdom, anyway you've arrived. I'm delighted as I get
ready to 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,
(01:56):
I hope you're all having a great day. You're all,
in my estimate, a bunch of great cats, and Roy
Eldridge wants you to join in.
Speaker 6 (02:19):
Hop in that older lop and hid for them all
that shop, and all the cats join, and down goes
my last two bits. Come up, one banana split, and
all the cats.
Speaker 7 (02:38):
Join, and.
Speaker 6 (02:41):
Drop your jack in that old juke box.
Speaker 7 (02:44):
Playing your favorite disc.
Speaker 6 (02:47):
When you dance with the Bobby Socks, you dance, dance
your own ris rip. Everybody swings, yes, swing till the
rafters ring.
Speaker 2 (02:57):
And all the john laving.
Speaker 5 (04:52):
All the cats join in Roy Eldridge and his Orchestra
with a buster harding vocal recorded on Decor Records, January
the thirty first, nineteen forty six. And that was an
upbeat way to get this week's edition of the Make
Believe Ballroom underway.
Speaker 4 (06:07):
Movie Them.
Speaker 5 (06:16):
Some Friends. We just heard Sunny Burke and his Orchestra
(07:58):
with Jumping sult on Okay Records, recorded in nineteen forty
Now Sonny Burke. Sonny, unfortunately is a name pretty much
forgotten today, but certainly for decades he was a superb
musical arranger. He was composer, bandleader and record producer. Now
(08:23):
during the thirties and forties, he was a big band
leader in New York, and at one point he took
over Sam Donna Hugh's band when Sam decided to leave
his own band to move on to work with Gene Kruper.
Now during the forties and fifties, Sonny Burke worked as
(08:47):
a band arranger for the Charlie Spivak and Jimmy Dorsey orchestras,
amongst others. In nineteen fifty five, he Sonny wrote, along
with Peggy Lee, the songs to Disney's Lady and the Tramp.
Many of you might not realize that the great legendary
(09:08):
vocalist Peggy Lee was also very talented composer. But getting
back to Sonny, I think his most well known work
actually came as a record producer and musical director. Sonny
was the musical director for Reprise Records, and there was
responsible for many of Frank Sinatra's greatest albums. He was
(09:34):
also a bandleader for recordings of such great vocalists as
Ella Fitzgerald and Mel Tormae. Going back to his big Banddaize.
Sonny made sixteen titles for OK Records in nineteen thirty
nine and nineteen forty, and he had a great quote
(09:56):
that I had read regarding that record contract with Okay.
Sonny said during an interview about his period with Okay,
he said, quote unquote, we didn't have any hits. We
just made good records. So a little about Sonny Burke,
and he did indeed make some very good records. Sunny
(12:57):
Burke and his orchestra Jimmy Meets the Count, also titled
Love is a Wonderful Thing recorded on OK Record September third,
nineteen forty and a great contrafact in there, as Sunny
Burke used the great Count bases one o'clock jump. I'm
Jeff Bressler, and you're listening to the one, the only,
(13:19):
the original Make Believe Ballroom broadcasting almost continuously since nineteen
thirty five. And to reach me, I'm Jeff at Make
Believe Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroomradio
dot com. And in a little while to listeners, emails
will be read across these very airwaves.
Speaker 3 (14:24):
Hello, don't mean.
Speaker 5 (14:39):
The we talked about Sunny Bark taking over Sam Donahue's
(15:58):
band when Sam left to go to work for a
Gene Krupa. And now I play for you a Gene
Krupa classic we just heard on Brunswick Records, wire Brush
Stomp Gene and the Orchestra, recorded in New York City,
June the second, nineteen thirty eight, and no explanation is
due as to why that record was called wire Brush Stomp.
(16:23):
Some great wire brush work there by the legendary mister Krupa.
I said, I wanted to read two emails. Let me
cover I'm not going to do both now. Let me
cover one now, then the second one a little later
on in the show No One I'm about to read.
This is such a sweet email. It reads, Dear mister Bresler,
(16:48):
you could call me Cheff. I think the last time
anyone called me mister Bresler is probably when I was
audited it a number of years ago by the IRS.
But that's different story. But back to the email, Dear
mister Bresler. I started listening to The Make Believe Ballroom
last year and I have really enjoyed it ever since.
(17:11):
I now listen with my husband and we often dance
along to the music. I started taking swing dance classes
a few years ago when I was a teenager, and
I eventually brought along my boyfriend now husband, as we
both love music from the Big Band era. We are
(17:32):
celebrating two events this month, our first wedding anniversary and
my husband's birthday. He'll be twenty two. Please would you
give a shout out to my lovely husband, Mario. He's
a wonderful man and I love him with all my heart.
I'm so glad to have found my dance partner. Thank
(17:54):
you for hosting the Make Believe Ballroom. We've learned so
much about the history of the Big Band and era
from you and that signed Mario and Moya Natsumi out
of San Francisco. So Mario and Moya, you don't know
how happy it makes me. It makes me feel to
(18:16):
know that you two so young in years, are devoted
listeners to the Make Believe Ballroom. It's important you keep
on swing dancing and listening to this music so you
can keep it alive from many generations to come. And
to you, Mario, one big happy birthday wish, and in
(18:39):
honor of your anniversary, I play for you this song.
Speaker 3 (19:46):
Oh how We danced on the night. We were well.
Speaker 2 (19:54):
Revved.
Speaker 7 (19:56):
Our true law loo ward wasn't.
Speaker 3 (20:04):
The world was in blue.
Speaker 8 (20:08):
There were stars in the skies, accents for the few
that were there.
Speaker 7 (20:19):
In your As I held you, saw cold in my arm.
Speaker 8 (20:32):
Angels were singing on him to your charm.
Speaker 6 (20:40):
To.
Speaker 3 (20:42):
Stadly beating wing, my darling.
Speaker 7 (20:52):
I loved you, so.
Speaker 3 (21:00):
I seemed to blesson news.
Speaker 8 (21:15):
Layne, good.
Speaker 7 (21:19):
Bye weed Bye. That along is on older by.
Speaker 5 (21:34):
Time on Victor Records. We just heard the anniversary song
by Tex Bennecke with the Glenn Miller Orchestra vocal by
(21:57):
Gary Stevens and the Mellow Larks, recorded in nineteen forty seven,
and of course, after the tragic disappearance and ultimate demise
of Glenn Miller during World War Two, the Miller family
wanted to keep the heritage of the Miller Orchestra alive
and asked Tex Beneke at that time to take the lead.
(22:22):
And that song we just heard, the anniversary song made
famous initially by the great Al Jolson. So once again,
happy birthday to you, Mario, and happy anniversary to you
Moya as well as Mario. To reach me, I'm jeff
at make believe Ballroomradio dot com. That's Jeff at Make
(22:43):
Believe Ballroomradio dot com. Please email me with your requests, stories, birthdays, anniversaries,
whatever you want. I'll be happy to read it on
the air. And now from his office in his condo
and an unknown location in Tampa, Florida, is the retired
(23:06):
producer emeritus of the Make Believe Ballroom. I used to
call him the record rack and tour and the platter Prince.
I'm talking about mister Excitement himself. Lenny from down the
Block with his record pick of the week.
Speaker 9 (23:23):
High Gang, Lenny from down the Block here with my
record pick of the week. We often play here on
the Ballroom music from singing sisters like the Boswell King
and Andrews Sisters, a group somewhat overlooked because of a
lack of actual records, waxed as the DeMarco Sisters. The
Demarcos started out as a trio and evolved into a
quintet as the two younger sisters eventually joined the group.
(23:47):
Most of the DeMarco's work came on the radio and
in short musical films. They reached the pinnacle of their
success appearing weekly on The Fred Allen Show in the
mid to late nineteen forties. Here are the Demarcos from
a Fred Allen radio broadcast on October twenty eighth, nineteen forty.
Speaker 10 (24:06):
Five, and now from the musically ridiculous McGee and McGhee.
We go to the melodic sublime the five DeMarco Sisters,
with my strow Al Goodman safely atop his podium conducting
the kids sing California sun Beat.
Speaker 4 (24:20):
Whoab is about the Glamoris?
Speaker 11 (24:28):
I'm be I'm all right, whether it being haven't madeen?
Speaker 1 (24:34):
At the other night the Glamori is on bet Bobby game.
Speaker 11 (24:43):
Give me awaying still I and at the.
Speaker 10 (24:45):
Other end donalmon we the mid mona dudell awe can
hear the old allig.
Speaker 11 (24:58):
Bet be the calaman If I'm bee in a minute,
I do, we'll be drinking I throw, so they'll be
waiting for my stupy farm.
Speaker 3 (25:09):
My friend.
Speaker 11 (25:10):
He's wearing an I Nia California. I'ma being my very back.
Speaker 3 (25:21):
Good dude.
Speaker 11 (25:24):
Winning on the mountain as against the back gallup. I'll
find you some be in a minute, I do, We'll
be streaking out through So man be waiting my strepy
parm do me do my friend. He's wearing an I
Nia California.
Speaker 3 (25:45):
Sign Me Me to My Baby.
Speaker 7 (25:50):
Back Pa.
Speaker 5 (25:58):
Thanks Lenny for your report and the swing in DeMarco's
sisters on the radio. Now, you know, there's a great
story about one of the DeMarco sisters. Back in nineteen
fifty two, Jackie Gleason of Honeymooner's Fame and the Jackie
(26:21):
Gleason Show, Well, he was interviewed by The American Weekly. Now,
the American Weekly was a popular Sunday magazine newspaper. Insert.
I never read it, but it was much, from what
I understand, like Parade Magazine, which many of you, my
(26:42):
baby boomer era friends may remember when it was in
all its full splendor Parade magazine. So Gleason said in
the interview with The American Weekly that Anne DeMarco, one
of the singing sisters, told him during a rehearsal for
a show in nineteen fifty one that he Gleason was
(27:07):
the greatest, and de Marco walked up to Gleason and said,
you are the greatest. Well, Jackie loved that, and he
used that title along with the great one for the
rest of his career in identifying himselves. The Demarcos at
the time they were on tour with Gleason one and
coined that phrase. And of course Jackie Gleason loved music,
(27:32):
and he cut many albums in the fifties and sixties
with he himself, the great one, the Greatest as the
maestro on those LP albums. So neat little tale about
Jackie Gleason and DeMarco. Now let me mention the Boswell sisters.
(27:55):
And since then I've had there when I take my
sugar to tea, a great record of theirs playing in
my mind. So why don't I now transfer that tune
from my mind into the record.
Speaker 12 (28:25):
I'm just a little Jackie Honor and.
Speaker 1 (28:30):
My game, A gang of mine has been the Dylan
the dey Vilins.
Speaker 12 (28:41):
I left the lamplight on that old corner all name
my world's name. I'm doing things I never.
Speaker 7 (28:52):
Did.
Speaker 12 (28:56):
Why not take my uga do teams.
Speaker 7 (29:00):
All the boys are jealous of me because.
Speaker 12 (29:04):
I'll never take a where the gangles when I take
my sugar dooty.
Speaker 11 (29:12):
I'm a Rodi Stody said me. She's a high hat
baby ates. So I never take a where the gangle
when I take my sugar Dooty.
Speaker 12 (29:28):
Every Sunday after nude, we forget about our care. Robbin
elbows at the wrist with a millionaires. When I take
my sugarooty, I'm as rizy now as I can because I.
Speaker 4 (29:51):
Never take a where the gang when I take.
Speaker 12 (29:56):
My sugar dooty form for won well take my sugar
(30:34):
doot teach all the boys and jills, I mean all,
and never take a where the gang goes.
Speaker 11 (30:39):
Well to take my sugar doot gee, I'm a.
Speaker 12 (30:41):
Riding out that I see she's a high baby that
she some one ever take awhay the gang goes When
I take my sugar doot tee. Robin albows at the
(31:02):
risk without wed my sugar Twodney ay Bob A wedding.
Speaker 11 (31:10):
Gang O Wednesday.
Speaker 5 (31:17):
On Brunswick. When I take my Sugar to Tea by
the Boswell Sisters accompanied by the Dorsey Brothers Orchestra, recorded
in New York City, March the nineteenth, nineteen thirty one.
So now as I look at my notes, why don't
(31:40):
I now read for you? Another email I received this
past week. It's from Larry Jeffries, who listens in Philadelphia, Pennsylvania,
and Larry asks inquiring minds want to know, did Fletcher
Henderson ever play with Benny Goodman or vice versa?
Speaker 13 (32:03):
Ps?
Speaker 5 (32:05):
Are you the same Jeff Bresler who raced harness horses
at the now long defunct Liberty Bell Racetrack in Philadelphia.
So to answer your second question first, yes, I confess
I occasionally drove harness horses at Liberty Bell Park. How
(32:27):
you came up with that one, Larry, is certainly beyond me.
I raced and trained harness horses for over twenty years,
mostly at Roosevelt and Yonkers Raceways in New York, as
well as Monticello Raceway in upstate New York in the
Catskill Mountains and Brandywine Raceway in Delaware. I do remember, actually,
(32:54):
come to think of it, getting suspended at Liberty Bell
for letting a horse pass me needlessly on the inside.
I don't think I ever won a race though at
Liberty Bell. But thanks for those memories, Larry, you must
have been a big racing officionado. And now to your
(33:18):
main question asking if Fletcher Henderson ever played with Benny
Goodman or vice versa, and well, yes and no is
the answer. Benny Goodman did record with arrangements written by
Fletcher Henderson, but not as a direct collaboration on the
(33:38):
same record. So although Fletcher did play in Benny Goodman's
orchestra as an occasional pianist, I think even played a
little while with the Benny Goodman sex stet. But as
I mentioned, Larry Fletcher's contributions to Benny came more in
the way of writing arrangements, and it's really very interesting
(34:01):
about how that came about. Let me play one by
Fletcher Henderson and his orchestra. Then the story of how
the Goodman Henderson partnership came about on Decca Records. Wrapping
(36:52):
it up. Fletcher Henderson's Orchestra recorded in New York City
on September the twelfth, nineteen thirty four. So how did
Fletcher Henderson hook up with Benny Goodman. Well, in nineteen
I think it was nineteen thirty five, Benny's orchestra was
(37:12):
selected to lead the house band for the NBC radio
program Let's Dance. So since Benny now needed new charts
every week for the show. Obviously, when Benny was out
on the road playing in ballrooms, barnstorming across the country
(37:33):
was basically playing the same songs show in show out,
week in, week out, but now on the radio. Obviously
he can't play the same music every week, so he
needed new charts, and he really wasn't prepared to produce
that amount of music at the time. So we went
(37:53):
to his good friend John Hammond. And I don't know
if this was before or after John Hammond's sister married Benny,
but nevertheless, John Hammond was a great, well known New
York City jazz empresario. He virtually knew everyone in the
(38:15):
business and everyone loved John, and John suggested that he
Benny Goodman purchase some charts from Fletcher Henderson. So many
of Goodman's hits from the swing era and actuality were
previously played by Fletcher Henderson in his own band back
(38:37):
in the late twenties and early thirties, usually his head
arrangements which he transcribed from his own records, and then
he sold them to Benny for I think the amount,
if I'm not mistaken, was a grand total of right
around twenty five dollars for each arrangement. So for the
(38:57):
reasonable price of just twenty five five dollars, Benny Goodman's
band used several arrangements by Fletcher on the radio, including
what would become a big Goodman hits like King Porter Stomp,
Sometimes I'm Happy and Down South Camp Meeting.
Speaker 10 (39:17):
Now.
Speaker 5 (39:18):
Henderson's arrangements were really crucial to Benny's success in launching
the swing era, and Benny often credited Fletcher for much
of his band's early popularity. So why not now one
of those Henderson collaborations for you on Victor Records. Down
(42:56):
South Camp Meeting by Benny Goodman and his orchestra record
in Hollywood, August thirteenth, nineteen thirty six. And you know,
while I was playing that Goodman tune, another piece by
Benny was playing in my head. When I was in
(43:16):
high school in my high school band, and as an
aside in that band was the late great jazz scholar,
record producer and radio host Phil Shapp He played the clarinet. Well,
it was another kid in the band that was a
clarinetist whose name I have really tried to remember over
(43:40):
the years. I just can't remember it, unfortunately. But this guy,
before each practice would warm up or attempt to warm up,
by imitating Benny Goodman by playing a piece of a
music hall rag. So if you'll indulge me for a moment,
(44:01):
So I could get that tune out of my head.
Here again Benny Goodman and his Orchestra with a record
issued via Columbia Music Hall RAG, recorded in New York
City November the twenty sixth, nineteen thirty four.
Speaker 4 (45:26):
Father Got of Other Pat.
Speaker 2 (45:46):
Got a.
Speaker 5 (47:19):
Honey Goodman's Music Hall Rag. I am Jeff Bresler. I'm
not in a music hall, but in the Crystal Studio.
And just as a quick reminder, past shows of the
Make Believe Ballroom, once they're played on our fine affiliated
radio stations, are then transferred into podcast form. If you
(47:39):
go to Make Believe Ballroom Podcast dot com that's MakeBelieve
Ballroom Podcast dot com, you can listen to past programs
in the series.
Speaker 2 (47:50):
And now.
Speaker 5 (47:52):
On last week's show, I played to what I considered
to be lightly played Glenn Miller songs. And prior to
that show, I had posted on a Facebook group, that
great Facebook group Swing and Traditional Jazz, that I would
(48:12):
be playing a couple of lightly played Glenn Miller songs
and there was a comment from one R. J. Lunny,
who was hoping I would have played well. In his
own words an anticipation of the show said, quote unquote,
I'd better be playing Sliphorn Jive and Caribbean Clipper. I
(48:36):
played neither of those, so for you, mister Lunney, right now,
I will play both to satisfy you. First, why don't
we play this one, says.
Speaker 7 (49:52):
You?
Speaker 5 (50:37):
Name a Blueberg record, Slipped Horn Jive by the Glenn
(51:59):
Miller Orchestra, recorded June the second, nineteen thirty nine in
New York City. An Adi Durham composed peace and now
for your second request.
Speaker 2 (53:00):
They didn't.
Speaker 5 (54:46):
Caribbean Clipper Glenn Miller and his Orchestra recorded for Victor
Records July the fourteenth, nineteen forty two. That was actually
a great record, but it ended up being on the
Beasts on the A side of that Victor record was
a tune called Blue Rain. So, mister Luney, I hope
(55:10):
I'm made up for not playing those two songs slip
Horn Jive and Caribbean Clipper on last week's program. And
it is now time to take a look at the
big bull of a clock on the wall here in
the Crystal studio to determine if we have time left
(55:30):
for another tune, and unfortunately we are out of time.
It's been my pleasure having you come into the Crystal
Studio joining me for this past hour of stories and
music from the Big Band era. To reach me like
Moya and Mario and Larry Jefferies did. It's simple process.
(55:53):
Just emailed Jeff at make Believe Ballroomradio dot com. That's
Jeff at make Believe Ballroom Radio di dot com. You
could also go to make Believe Ballroom podcast dot com
Make Believe Ballroom podcast dot com to hear past shows
in podcast form as well as record a message to
be played on the show. Just go to the microphone
(56:15):
icon on the lower right hand corner of the page
at MakeBelieve Ballroom Podcast dot com. So, folks, until next week.
This has been Jeff Bresler.
Speaker 7 (56:28):
I can see it your glance room.
Speaker 13 (56:34):
For a while with playing and the man is playing
music tappy show. If you bro tender, sweetly surrender my
willing let go with totally a small room, you know,
make me leave ball room.
Speaker 7 (56:52):
Let's uppish
Speaker 3 (57:59):
Blush
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