Vollständiges Transkript von Make Believe Ballroom - 9/11/26

Tim in Penfield, New York. He writes, Hi, Jeff. 35 00:08:57.019 --> 00:09:01.360 I listen weekly on WGRC in Rochester. 36 00:09:01.399 --> 00:09:01.860 New York. 37 00:09:02.929 --> 00:09:09.720 I was blown away when you played recently Fats Waller's song, 38 00:09:10.320 --> 00:09:13.059 I Want to Hear Swing Songs. It was my first 39 00:09:13.120 --> 00:09:16.759 time hearing it, and now I have it in my 40 00:09:16.879 --> 00:09:22.279 Swing Big Band playlist. I would certainly love more of 41 00:09:22.360 --> 00:09:27.320 Fats Waller on the Make Believe Ballroom and any unique 42 00:09:27.379 --> 00:09:31.000 history or stories you have on Fats and his career. 43 00:09:32.470 --> 00:09:35.529 Enjoy you in the program every week, and I'm exploring 44 00:09:35.600 --> 00:09:42.460 some past episodes on podcast at iHeartRadio. Keep up your 45 00:09:42.500 --> 00:09:46.700 great work, and I will keep on listening. Regards, Tim. 46 00:09:47.960 --> 00:09:52.299 Let's play one for you, Tim, from Thomas Fats Waller. 47 00:09:53.179 --> 00:09:57.120 And then, Tim, I'm going to tell you the classic 48 00:09:57.960 --> 00:09:59.340 Fats Waller story. 49 00:10:00.399 --> 00:10:02.399 ¶ ¶. 50 00:10:11.059 --> 00:10:12.220 Thank you. 51 00:10:37.309 --> 00:10:40.710 Be sure it's true when you say I love you. 52 00:10:40.889 --> 00:10:47.980 It's a sin to tell a lie. Billions of hearts 53 00:10:48.120 --> 00:10:52.610 have been broken, yes, yes. Just because these words were spoken. 54 00:10:52.690 --> 00:10:54.610 You know the words that were spoken? Here it is. 55 00:10:55.090 --> 00:10:56.929 I love you, I love you, I love you. 56 00:10:56.990 --> 00:10:58.730 I love you. 57 00:10:58.950 --> 00:11:00.809 Yes, but if you break my heart, I'll break your 58 00:11:00.850 --> 00:11:04.240 jaw and then I'll die. So be sure it's true 59 00:11:04.320 --> 00:11:05.440 when you. 60 00:11:05.340 --> 00:11:06.740 Say I love you. 61 00:11:07.120 --> 00:11:09.580 It's a sin to tell a lie. Now get on 62 00:11:09.620 --> 00:11:10.460 out there and tell your lie. 63 00:11:10.480 --> 00:12:45.779 What is it? Be sure it's. 64 00:12:44.919 --> 00:12:49.100 True when you say I love you. It's a sinner 65 00:12:49.159 --> 00:12:52.639 dog on sin to tell a lie what I say. 66 00:12:52.860 --> 00:12:57.789 Released on the Victor label on June the 17th, 1936, 67 00:12:57.789 --> 00:13:00.509 Fats Waller and his rhythm with one of his big hits, 68 00:13:01.070 --> 00:13:06.009 It's a Sin to Tell a Lie. So Tim from Penfield, 69 00:13:06.090 --> 00:13:12.190 New York, and a loyal listener to our beloved Jazz 90.1. 70 00:13:12.190 --> 00:13:19.360 Picture this. It's 1926. Chicago is roaring, and a toddling 71 00:13:19.419 --> 00:13:25.399 town it is. The speakeasies are packed, and Ol' Fats 72 00:13:25.820 --> 00:13:31.340 is tearing up the keys at the Sherman Hotel, one 73 00:13:31.360 --> 00:13:36.779 of his favorite gig haunts in the 1920s. So Fats 74 00:13:37.120 --> 00:13:40.840 finishes his set, and he steps out into the refreshing 75 00:13:41.100 --> 00:13:46.340 evening air. But lo and behold, four men in pinstripe 76 00:13:46.440 --> 00:13:50.379 suits pull up. A machine gun is taken out and 77 00:13:50.490 --> 00:13:55.730 shoved into Fats' ribs. He's pushed into the back seat 78 00:13:56.350 --> 00:14:00.350 of the black sedan, and he's driven straight to Cicero, 79 00:14:01.429 --> 00:14:06.129 the notorious headquarters. of the public enemy number one at 80 00:14:06.190 --> 00:14:10.480 the time. So Fats, as you can understand, was shaking 81 00:14:10.509 --> 00:14:15.600 in his boots. He's marched into the Hearththorn Inn, certain 82 00:14:15.980 --> 00:14:20.799 that he's walking to his execution. The doors fly open, 83 00:14:21.879 --> 00:14:25.230 and what does he see? Well, he sees a massive 84 00:14:25.330 --> 00:14:30.490 smoky room packed with mobsters. What were the women called 85 00:14:30.509 --> 00:14:35.070 that used to wear the flappers? And also a giant 86 00:14:35.110 --> 00:14:39.330 birthday cake. Turns out it wasn't a hit on Fats. 87 00:14:39.470 --> 00:14:44.470 It was a surprise party, birthday party, for Al Capone. 88 00:14:46.009 --> 00:14:50.980 And Scarface, once he came in and found out about 89 00:14:51.019 --> 00:14:55.259 the surprise, told his men he wanted them to go 90 00:14:55.299 --> 00:14:59.240 to Chicago and get the best piano player in the 91 00:14:59.320 --> 00:15:05.110 world to provide the music for the event. Although Fats 92 00:15:05.190 --> 00:15:11.169 that day probably didn't have that event circled on his calendar, 93 00:15:11.269 --> 00:15:18.590 that birthday party. So Capone shouts, play Fats. And boy, 94 00:15:18.809 --> 00:15:24.720 did he play. Who wouldn't honor Al Capone's request? So for, 95 00:15:24.919 --> 00:15:30.740 it is said, three straight days, the quote-unquote kidnapping turned 96 00:15:30.799 --> 00:15:36.620 into the wildest gig in jazz history. It's reported played nonstop, 97 00:15:36.710 --> 00:15:41.169 only catching quick naps right on the piano bench. So 98 00:15:41.210 --> 00:15:45.870 the downside was zero sleep and a lot of continuing tension. 99 00:15:46.669 --> 00:15:50.460 But there was an upside. Every time Al Capone liked 100 00:15:50.559 --> 00:15:56.340 a song, he stuffed a $ 100 bill right into Fats' pocket. 101 00:15:56.340 --> 00:16:04.370 72 hours of expensive champagne. I guess high-end steaks. And 102 00:16:04.649 --> 00:16:09.049 mobster applause later, Fats was chauffeured right back to his 103 00:16:09.100 --> 00:16:16.340 hotel in Chicago. He was exhausted, completely unharmed, and thousands 104 00:16:16.360 --> 00:16:20.179 of dollars richer. So you may wonder, Tim, is that 105 00:16:20.240 --> 00:16:23.539 story true? Well, the honest answer is we don't know 106 00:16:23.620 --> 00:16:28.940 for sure. But most historians classify it as a mix 107 00:16:29.080 --> 00:16:37.870 of jazz legend and likely fiction. Although

Fats himself regaled 108 00:16:37.929 --> 00:16:43.620 many folks with that story. And Al Capone did indeed 109 00:16:44.120 --> 00:16:48.519 own the Hawthorne Inn and was said to love jazz. 110 00:16:48.580 --> 00:16:53.299 So who knows? I do know this, and Tim, I'm 111 00:16:53.419 --> 00:16:58.980 sure you'll agree, Fats and his stride piano endeared himself 112 00:16:59.139 --> 00:17:03.909 to millions of jazz fans around the world. So, without 113 00:17:03.970 --> 00:17:07.829 any further ado, let's listen to Fats Waller. 114 00:17:13.089 --> 00:17:17.170 They have a new expression, a long old hollow way, 115 00:17:17.829 --> 00:17:21.349 that tells you when a party is ten times more 116 00:17:21.390 --> 00:17:25.049 than gay. To say that things are jumping leaves not 117 00:17:25.089 --> 00:17:29.170 a single doubt. that everything is in full swing when 118 00:17:29.210 --> 00:17:33.029 you hear someone shout. Here it is. The joint is jumping. 119 00:17:34.190 --> 00:17:37.859 It's really jumping. Come and catch and check your hats. 120 00:17:37.990 --> 00:17:42.980 I mean, this joint is jumping. The piano's thumping. The 121 00:17:43.119 --> 00:17:47.519 dancers are bumping. This spot is more than hot. In fact, 122 00:17:47.559 --> 00:17:51.240 the joint is jumping. Check your weapons at the door. 123 00:17:51.299 --> 00:17:55.190 Be sure to pay your quarters. Burn your leather on 124 00:17:55.250 --> 00:18:00.630 the floor. Grab anybody's daughter. The roof is rocking. The 125 00:18:00.710 --> 00:18:04.759 neighbor's knocking. We're all bums when the wagon comes. I mean, 126 00:18:04.779 --> 00:18:05.970 the joint is jumping. 127 00:18:06.279 --> 00:18:07.339 Let it beat. 128 00:18:07.579 --> 00:18:09.779 Yeah. 129 00:18:09.819 --> 00:18:11.460 Send this joint, boy. Yeah. 130 00:18:11.660 --> 00:18:11.960 Ah. 131 00:18:16.789 --> 00:18:19.359 Don't you hit that chick. That's my broad. Where'd you 132 00:18:19.380 --> 00:18:21.940 get that stuff at? Boy, I'll knock you to your knees. 133 00:18:23.359 --> 00:18:23.519 What? 134 00:18:23.559 --> 00:18:24.680 Put this cat out of here. 135 00:18:25.940 --> 00:18:28.779 What? Get rid of that pistol. 136 00:18:28.799 --> 00:18:30.670 Get rid of that pistol. 137 00:18:30.690 --> 00:18:30.769 Yeah. 138 00:18:30.849 --> 00:18:35.369 Get rid of it. Yeah. Ha-ha. That's what I'm talking about. 139 00:18:35.390 --> 00:18:36.230 Ha-ha. 140 00:18:36.250 --> 00:18:36.750 Oh, man. 141 00:18:36.789 --> 00:18:37.609 It's really ready. 142 00:18:38.009 --> 00:18:40.529 No, baby, not now. I can't come over there right now. 143 00:18:44.690 --> 00:18:46.190 Just give it to me. 144 00:18:46.410 --> 00:18:46.829 Yes, Mr. 145 00:18:46.950 --> 00:18:47.630 Wallace. 146 00:18:48.569 --> 00:18:54.539 And leave it to me. Yes, you can. I need it. 147 00:18:54.619 --> 00:19:00.559 That's what it is. Yes, I don't know. That's it. 148 00:19:00.619 --> 00:19:05.279 That's the big thing. I want that. That's the big thing. Uh-huh. 149 00:19:05.380 --> 00:19:05.519 Uh-huh. 150 00:19:05.539 --> 00:19:05.759 Uh-huh. 151 00:19:05.779 --> 00:19:06.019 Uh-huh. 152 00:19:06.039 --> 00:19:06.339 Uh-huh. 153 00:19:06.359 --> 00:19:06.599 Uh-huh. 154 00:19:06.619 --> 00:19:06.880 Uh-huh. 155 00:19:07.039 --> 00:19:08.220 Uh-huh. Uh-huh. 156 00:19:08.240 --> 00:19:09.160 Uh-huh. Uh-huh. 157 00:19:09.319 --> 00:19:11.680 Uh-huh. Uh-huh. Uh-huh. Uh-huh. 158 00:19:11.700 --> 00:19:11.940 Uh-huh. 159 00:19:12.119 --> 00:19:13.200 Uh-huh. Uh-huh. 160 00:19:17.789 --> 00:19:23.329 The joint is jumpin' It's really jumpin' Every mole's on 161 00:19:23.349 --> 00:19:27.039 his toes I mean this joint is jumpin' Uh-uh, no 162 00:19:27.079 --> 00:19:31.519 time for talkin' This place is walkin', yeah Hit the 163 00:19:31.539 --> 00:19:33.859 jug and cut the rug I said the joint is 164 00:19:33.880 --> 00:19:37.380 jumpin' Listen, get your pig feet, pear and gin There's 165 00:19:37.440 --> 00:19:41.160 plenty in the kitchen Who is that that just came in? 166 00:19:41.480 --> 00:19:44.880 Just look at the way he's switchin' off, baby Don't. 167 00:19:44.740 --> 00:19:49.329 Mind the hour I'm in power I got man. 168 00:19:49.150 --> 00:19:41.869 If we go to jail. From Victor Records on October 169 00:19:41.890 --> 00:19:43.589 the 7th, 1937, the joint is jumping. 170 00:19:44.170 --> 00:19:49.599 Fats Waller and his rhythm, one of Fats. 171 00:19:49.619 --> 00:19:50.740 Top hits of all time. 172 00:20:09.660 --> 00:20:12.079 Tim, let me play one more for you, and this 173 00:20:12.200 --> 00:20:16.059 one is unique. I've played some of the music before 174 00:20:16.900 --> 00:20:20.460 and told the story of the recording session, but I'll 175 00:20:20.519 --> 00:20:25.539 refresh our listeners' memories. In the 1930s, if you wanted 176 00:20:25.559 --> 00:20:29.900 to hear real jazz, you had to find the smoky 177 00:20:31.410 --> 00:20:36.740 late night club after the official gigs ended. That's where 178 00:20:37.140 --> 00:20:42.960 musicians met up to let loose, trade solos and just jam. 179 00:20:44.200 --> 00:20:48.400 But the big record labels, they hated these jam sessions. 180 00:20:48.769 --> 00:20:53.710 They wanted rehearsed, orderly, predictable hits. And that's, well, it's 181 00:20:53.750 --> 00:20:59.130 understandable from a monetary point of view. But one historic 182 00:20:59.269 --> 00:21:05.369 afternoon in New York City, the Victor Studios... Had that 183 00:21:05.589 --> 00:21:16.380 precedent broken, on March the 31st, 1937, record executives decided 184 00:21:16.519 --> 00:21:20.680 to take a massive gamble. They locked five of the 185 00:21:20.720 --> 00:21:24.420 biggest superstars in swing music into a single room. No 186 00:21:24.559 --> 00:21:31.609 sheet music, no rigid arrangements, no safety nets. The stars 187 00:21:31.670 --> 00:21:37.089 were lined up just right as five of RCA Victor's 188 00:21:37.150 --> 00:21:41.210 top artists all happened to be in

New York City 189 00:21:41.369 --> 00:21:45.710 at the same time, which was a rarity. At the keys, 190 00:21:46.170 --> 00:21:52.109 you've got the joyful genius himself, Fats Waller, blowing trombone, 191 00:21:52.509 --> 00:21:57.930 the brilliant Tommy Dorsey. On trumpet, the legendary Bunny Berrigan. 192 00:21:58.819 --> 00:22:03.500 And keeping the heartbeat alive, Dick McDonough on guitar and 193 00:22:03.799 --> 00:22:11.670 George Wettling playing the drums. So on that March 31st, 1937, 194 00:22:11.670 --> 00:22:18.799 the engineers hit record and those Titans just played, just jammed. 195 00:22:20.630 --> 00:22:26.079 They tear through Fats Waller's own Honeysuckle Rose, trading blistering, 196 00:22:26.160 --> 00:22:32.400 completely improvised solos on the fly. Just amazing. And that 197 00:22:32.500 --> 00:22:38.170 series of records became known as a jam session at Victor. 198 00:22:39.650 --> 00:22:44.329 And one of those jams was Fats' own Honeysuckle Rose. 199 00:22:45.329 --> 00:22:47.329 ¶ ¶. 200 00:25:47.099 --> 00:25:51.039 That's Waller, Tommy Dorsey, Bunny Berrigan, Dick McDonough, and George 201 00:25:51.240 --> 00:25:56.000 Wettling with the Fats Waller, Andy Razoff tune, the classic 202 00:25:56.640 --> 00:26:03.349 Honeysuckle Rose. And Tim, our listener... On Jazz 90.1 in Rochester, 203 00:26:03.390 --> 00:26:06.170 New York, thank you so much for asking me to 204 00:26:06.230 --> 00:26:10.710 play some Fats Waller and tell a little story. Jeff 205 00:26:10.950 --> 00:26:16.990 at MakeBelieveBallroomRadio.com. Jeff at MakeBelieveBallroomRadio.com. I'm Jeff Bressler, and you're 206 00:26:17.029 --> 00:26:20.670 listening to the MakeBelieve Ballroom in another email after this. 207 00:26:21.670 --> 00:28:42.190 ¶ ¶ Thank you. 208 00:29:20.960 --> 00:29:25.759 Recorded on Music Craft Records in Los Angeles on November 209 00:29:25.779 --> 00:29:31.730 the 14th, 1945, Artie Shaw and his orchestra with Let's Walk. 210 00:29:33.210 --> 00:29:39.589 And some walking that Artie himself did, because as I speak, 211 00:29:39.609 --> 00:29:43.259 I'm looking at him. up to see if he walked 212 00:29:43.319 --> 00:29:49.519 down the aisle if he had married the actress Ava 213 00:29:49.619 --> 00:29:55.519 Gardner around that time And he did the month prior 214 00:29:55.539 --> 00:30:00.829 in October of 1945. And as a result of that marriage, 215 00:30:00.890 --> 00:30:04.369 he didn't exactly give a reverse wedding present to his 216 00:30:04.430 --> 00:30:09.980 band members because he disbanded his band to spend more 217 00:30:10.059 --> 00:30:14.740 time with Ava. And that time was short because the 218 00:30:14.759 --> 00:30:19.089 marriage lasted only about a year. I'm Jeff Bressler, and 219 00:30:19.150 --> 00:30:22.029 you are listening to the one, the only, the original 220 00:30:22.109 --> 00:30:27.039 Make Believe Ballroom, America's third longest running music radio program. 221 00:30:27.059 --> 00:30:29.500 And I welcome you into the Crystal Studio for an 222 00:30:29.539 --> 00:30:33.839 episode mostly devoted to some listeners' emails that have been 223 00:30:34.420 --> 00:30:39.299 seeking attention here on the recording console. And the next 224 00:30:39.460 --> 00:30:44.609 email is from Cindy in Bel Air, Maryland. And she writes, 225 00:30:44.660 --> 00:30:49.930 Dear Jeff, Thank you for your wonderful program. I was 226 00:30:49.990 --> 00:30:53.269 introduced to it by my mother who used to listen 227 00:30:53.309 --> 00:30:55.250 to the show on the radio when she was a 228 00:30:55.289 --> 00:30:59.150 young girl in the 1940s. I first heard about it 229 00:30:59.230 --> 00:31:02.460 when she told me how she would listen while her 230 00:31:02.619 --> 00:31:07.160 older sisters were getting ready to go on dates. Mom 231 00:31:07.220 --> 00:31:09.819 also used to sing a bit of the opening song. 232 00:31:10.819 --> 00:31:13.720 So imagine my delight when I found your program on 233 00:31:13.779 --> 00:31:18.109 Spotify and shared it with her. It would mean a 234 00:31:18.170 --> 00:31:22.369 lot if you could say hello to her. Joy Puccino, 235 00:31:23.809 --> 00:31:27.869 now 89 years old and still enjoying the music of 236 00:31:27.910 --> 00:31:33.099 the 1930s and 40s. Well, Joe, hello! 89 years young, 237 00:31:33.140 --> 00:31:37.799 God bless you. And God bless you for exposing Cindy 238 00:31:37.940 --> 00:31:43.220 to the music and the wonderful story Cindy just told 239 00:31:43.319 --> 00:31:48.640 us about the memory of your Beloved sisters, getting ready 240 00:31:48.700 --> 00:31:53.059 for dates. That was wonderful. Keep on listening, please, Joe, 241 00:31:53.160 --> 00:31:59.109 until you're 120 years old. That is my wish for you. So, Cindy, 242 00:31:59.809 --> 00:32:04.569 continuing your email. She goes on to say, now my request, 243 00:32:04.950 --> 00:32:09.019 would you tell the story behind Mr. 5x5 and play 244 00:32:09.059 --> 00:32:14.579 the song? In addition to being great entertainment... It has 245 00:32:14.619 --> 00:32:17.380 a great vocabulary word. I had to look it up. 246 00:32:19.019 --> 00:32:24.569 Avoir de poids. I think that's it. To all our 247 00:32:24.680 --> 00:32:30.549 fans in French Canada and Quebec, I certainly apologize. I 248 00:32:30.609 --> 00:32:33.750 always mess up when I got to use French words, 249 00:32:33.809 --> 00:32:37.569 but I think it means a measurement of weight of 250 00:32:37.690 --> 00:32:41.740 some sort. Cindy goes on to say, thanks again for 251 00:32:41.789 --> 00:32:45.190 your program. I never miss it. Well, thanks, Cindy. And 252 00:32:45.250 --> 00:32:49.109 if the audience is not familiar with the song, I'll 253 00:32:49.150 --> 00:32:52.410 give you a little background. Certainly one of my favorites, 254 00:32:52.470 --> 00:32:55.450 not only for the tune, the novelty of the song 255 00:32:55.509 --> 00:33:00.369 and the band and vocalist, but for who Mr. 5x5 256

00:33:00.730 --> 00:33:06.349 actually was. Back in 1942, if you turned on your radio, 257 00:33:06.410 --> 00:33:11.380 you couldn't escape the biggest hit. on the charts. Well, 258 00:33:11.420 --> 00:33:16.400 it was a wild little tune called Mr. 5x5, and 259 00:33:16.440 --> 00:33:21.700 the lyrics painted quite a picture describing a guy who 260 00:33:21.740 --> 00:33:25.299 was quite literally five feet tall and five feet wide. 261 00:33:26.720 --> 00:33:29.700 Believe it or not, that song was a real tribute 262 00:33:29.940 --> 00:33:37.140 to a real-life jazz giant, Jimmy Rushing, the legendary powerhouse 263 00:33:38.190 --> 00:33:41.869 lead singer for the Count Basie Orchestra for so many years. 264 00:33:43.349 --> 00:33:50.819 Jimmy was indeed famously short, famously round, and absolutely magical 265 00:33:51.619 --> 00:33:56.099 on the microphone as a vocalist. The songwriting duo of 266 00:33:56.140 --> 00:33:59.099 Don Ray and Gene DePaul, they loved him so much, 267 00:33:59.180 --> 00:34:05.240 they turned his unique build into a national catchphrase. They 268 00:34:05.279 --> 00:34:08.199 joked that he didn't measure no more from head to 269 00:34:08.260 --> 00:34:12.809 toe than he did from side to side. Ella Mae Morse, 270 00:34:13.489 --> 00:34:16.789 we played a lot of her music a few weeks back. Well, 271 00:34:16.829 --> 00:34:19.949 she took the track straight to number one on the charts, 272 00:34:20.789 --> 00:34:25.969 turning a friendly backstage joke about a heavyset blues singer 273 00:34:26.030 --> 00:34:31.800 into a permanent piece of American pop culture history. So 274 00:34:31.840 --> 00:34:35.960 why don't I drop the needle on the 1942 classic 275 00:34:36.840 --> 00:34:41.179 that had the whole country jumping. Here's Freddie Slack and 276 00:34:41.280 --> 00:34:43.449 Ella Mae Morse with Mr. 277 00:34:43.530 --> 00:34:43.610 5x5. 278 00:34:43.630 --> 00:34:43.699 Mr. 279 00:34:43.710 --> 00:35:26.489 5x5 Well, twirl my turban, man alive. 280 00:35:26.769 --> 00:35:31.909 Here come Mr. Five-by-Five. He's one of those big. 281 00:35:31.929 --> 00:35:40.360 Fat, bouncing boys. Solid, avid boys. Mr. Five-by-Five. 282 00:35:40.800 --> 00:35:44.440 He's five feet tall and he's five feet wide. 283 00:35:44.940 --> 00:35:48.920 He don't measure no more from head to toe than 284 00:35:48.960 --> 00:35:51.579 he do from side to side. 285 00:35:52.179 --> 00:35:52.940 Mr. 286 00:35:53.099 --> 00:35:59.480 Five by Five got 15 chins and a line of jive. 287 00:36:00.019 --> 00:36:05.119 He's a mellow old cat, a real half-fat. He be Mr. 288 00:36:05.260 --> 00:36:08.880 Five by Five. That man. 289 00:36:10.389 --> 00:36:14.730 Can't really jump it for a fat man The only 290 00:36:14.789 --> 00:36:15.829 trouble is there's. 291 00:36:15.710 --> 00:36:23.079 No way of knowing Whether he's coming on or going Mr. 292 00:36:23.159 --> 00:36:29.530 Five by Five He's slightly plump on his flutter side 293 00:36:29.969 --> 00:36:33.610 He don't shake it no more from head to toe 294 00:36:33.769 --> 00:36:37.090 Than he do from side to side. 295 00:37:08.110 --> 00:37:14.349 That man can really jump it for a fat man. Boys, 296 00:37:14.510 --> 00:37:18.489 the trouble is there's no way of knowing. 297 00:37:18.869 --> 00:37:22.719 Whether he's coming on or going. 298 00:37:22.800 --> 00:37:23.159 Mr. 299 00:37:23.260 --> 00:37:28.400 Five by five, he's five feet tall and he's five 300 00:37:28.460 --> 00:37:29.780 feet wide. 301 00:37:30.159 --> 00:37:34.219 He don't measure no more from head to toe than 302 00:37:34.260 --> 00:37:41.340 he do. From side to side Mr. 303 00:37:41.800 --> 00:37:48.940 5x5 On Capitol Records, Mr. 5x5 by Freddie Slack and 304 00:37:48.980 --> 00:37:54.030 his orchestra, vocal by Ella Mae Morse, with a vocal 305 00:37:54.090 --> 00:37:58.769 cameo by the great lyricist and vocalist Johnny Mercer, a 306 00:38:00.210 --> 00:38:05.889 number one hit record, Back in 1942. And thank you, Cindy, 307 00:38:05.909 --> 00:38:10.989 for your kind note. And special congratulations to you, Joe, 308 00:38:11.269 --> 00:38:15.090 for having such a caring daughter. I'm Jeff Bressler, and 309 00:38:15.139 --> 00:38:18.820 you're listening to the weekly edition of The Make-Believe Ballroom. 310 00:38:19.480 --> 00:38:23.179 And while we're on the subject of the real Mr. 311 00:38:23.420 --> 00:38:27.300 5x5 himself, Jimmy Rushing, how can I leave the topic 312 00:38:27.519 --> 00:38:29.360 without playing one of his songs? 313 00:39:20.510 --> 00:39:24.670 Going to Chicago Sorry that I can't take. 314 00:39:24.409 --> 00:39:57.559 You Going to Chicago Sorry that I can't. 315 00:39:56.460 --> 00:40:05.449 Take you There's nothing in Chicago That a monkey woman 316 00:40:05.550 --> 00:40:09.110 can do When you see me coming. 317 00:40:14.300 --> 00:40:24.840 Raise your window high When you see me coming Raise 318 00:40:24.900 --> 00:40:35.969 your window high When you see me passing, baby Hang 319 00:40:36.070 --> 00:40:46.650 your head and cry Hurry down, sunshine ¶ See what 320 00:40:46.710 --> 00:40:56.170 tomorrow brings ¶ ¶ ¶ Hurry down, sunshine ¶ ¶ 321 00:40:56.349 --> 00:41:00.380 ¶ See what tomorrow. 322 00:40:58.960 --> 00:41:06.199 Brings ¶ ¶ ¶ The sun went down ¶ ¶ 323 00:41:06.420 --> 00:41:13.030 ¶ Tomorrow brought a dream ¶ ¶. 324 00:41:13.610 --> 00:41:18.369 You're so mean and evil, you do things you ought 325 00:41:18.429 --> 00:41:19.469 not to. 326 00:41:19.570 --> 00:41:23.489 You're so mean and evil, you do things you ought 327 00:41:23.570 --> 00:41:24.090 not to. 328 00:41:34.340 --> 00:41:38.699 You've got my brand of honey. Guess I'll have to 329 00:41:38.760 --> 00:41:44.380 put up with you. 330 00:41:47.380 --> 00:41:51.760 Count Basie recorded Going to Chicago Blues on OK Records 331 00:41:51.880 --> 00:41:57.780 April 10, 1941 in Chicago, Illinois. Jimmy Rushing, a co-writer 332 00:41:57.820 --> 00:42:02.300 of that song and

one of Jimmy's greatest vocal blues hits. 333 00:42:03.179 --> 00:42:03.570 Mr. 334 00:42:04.659 --> 00:42:12.369 5x5 himself, Jimmy Rushing. And now, you want to know something? 335 00:42:12.429 --> 00:42:16.150 Let me flip that record over to the B-side, that 336 00:42:16.309 --> 00:42:20.369 OK record, and see what we have. 337 00:42:21.369 --> 00:42:35.150 ¶ ¶ so so 920. 338 00:45:29.110 --> 00:45:32.789 Special, Count Basie and his orchestra, the B-side, to go 339 00:45:32.849 --> 00:45:37.849 into Chicago blues. This is the Make-Believe Ballroom. I'm Jeff Bresler. 340 00:45:37.869 --> 00:45:43.730 To reach me, Jeff, at makebelieveballroomradio.com. Jeff at makebelieveballroomradio.com. And 341 00:45:43.769 --> 00:45:47.630 the third email on the program today comes from Lloyd, 342 00:45:48.860 --> 00:45:55.519 who listens on KZSM in San Marcos, Texas, just down 343 00:45:55.579 --> 00:45:58.239 the road from when I used to live in Kyle. 344 00:45:58.690 --> 00:46:05.550 in Central Texas. And Lloyd writes, Lloyd writes, hold on, 345 00:46:05.610 --> 00:46:09.590 my mouse is frozen. I will tell you in a 346 00:46:09.650 --> 00:46:15.250 moment what Lloyd writes. He writes, Jeff, I am a 347 00:46:15.309 --> 00:46:18.869 devoted Tuesday listener to the Make-Believe Ballroom. I was born 348 00:46:18.929 --> 00:46:22.530 in Brighton, England, and now teach at Texas State University. 349 00:46:22.550 --> 00:46:27.679 That makes sense, since Texas State is indeed in San Marcos. 350 00:46:29.389 --> 00:46:32.250 He goes on, one of our greatest treasures in the 351 00:46:33.210 --> 00:46:37.449 1930s and 40s was the great British musical comedian, singer, 352 00:46:37.590 --> 00:46:43.880 ukulele player, recording artist, and movie star George Formby. His 353 00:46:43.929 --> 00:46:47.079 songs like When I'm Cleaning Windows and With My Little 354 00:46:47.260 --> 00:46:52.960 Ukulele in My Hand were packed with playful risque wordplay. 355 00:46:54.070 --> 00:46:58.829 that frequently ran afoul of BBC censors but delighted the 356 00:46:58.869 --> 00:47:05.880 British public. He was idolized by the great comic Benny Hill, who, 357 00:47:06.199 --> 00:47:10.679 equally as risque song parodies, were all a result of 358 00:47:10.719 --> 00:47:15.300 his fondness for George Formby. I know he didn't lead 359 00:47:15.340 --> 00:47:18.920 a big band, was a renowned jazz musician or vocalist 360 00:47:19.079 --> 00:47:23.239 of the era, But for nostalgia, can you play one 361 00:47:23.260 --> 00:47:28.039 of his songs? Well, thanks, Lloyd. Of course I will. I, too, 362 00:47:28.119 --> 00:47:32.820 love George Formby and probably have not played any of 363 00:47:32.860 --> 00:47:36.840 his music on the Make-Believe Ballroom in a number of years. 364 00:47:38.030 --> 00:47:41.110 So this should be a treat for me, you, as 365 00:47:41.210 --> 00:47:46.130 well as the audience. So let me key one up here. 366 00:47:46.840 --> 00:47:57.769 Listen for his extremely funny double entendre lyrics on this record. 367 00:48:08.309 --> 00:48:12.300 Now I go cleaning windows To earn an honest bob 368 00:48:12.900 --> 00:48:17.519 For a nosy parker It's an interesting job Now it's 369 00:48:17.659 --> 00:48:20.800 a job that just suits me A window cleaner you 370 00:48:20.860 --> 00:48:23.639 would be If you can see what I can see 371 00:48:23.920 --> 00:48:28.789 When I'm cleaning windows Honeymoon in couples too You should 372 00:48:28.849 --> 00:48:31.900 see them bill and coo You'd be surprised at things 373 00:48:31.940 --> 00:48:36.320 they do When I'm cleaning windows In my profession I'll 374 00:48:36.340 --> 00:48:40.440 work hard but I'll never stop I'll climb this blinking 375 00:48:40.519 --> 00:48:44.760 ladder Till I get right to the top The blushing bride, 376 00:48:44.780 --> 00:48:48.150 she looks divine The bridegroom, he is doing fine I'd 377 00:48:48.210 --> 00:48:51.989 rather have his job than mine When I'm cleaning windows 378 00:48:52.469 --> 00:48:56.070 The chambermaid's sweet names I call It's a wonder I 379 00:48:56.110 --> 00:48:58.949 don't fall My mind's not on my work at all 380 00:48:59.309 --> 00:49:03.099 When I'm cleaning windows I know a fella's such a 381 00:49:03.159 --> 00:49:05.940 swell He has a thirst that's plain to tell I've 382 00:49:05.980 --> 00:49:09.219 seen him drink his bath as well When I'm cleaning 383 00:49:09.280 --> 00:49:13.139 windows Oh, in my profession I'll work hard but I'll 384 00:49:13.199 --> 00:49:17.250 never stop I'll climb this blinking ladder Till I get 385 00:49:17.329 --> 00:49:21.969 right to the top Pajamas lined side by side, ladies' 386 00:49:22.050 --> 00:49:25.659 nighties I have spied. I've often seen what goes inside 387 00:49:25.940 --> 00:50:03.780 when I'm cleaning windows.. Thank you. Now there's a famous 388 00:50:03.860 --> 00:50:07.059 talky queen She looks a flapper on the screen She's 389 00:50:07.119 --> 00:50:11.389 more like 80 than 18 When I'm cleaning windows She 390 00:50:11.429 --> 00:50:14.730 pulls her hair all down behind Then pulls down her 391 00:50:14.849 --> 00:50:18.250 never mind And after that pulls down the blind When 392 00:50:18.329 --> 00:50:22.699 I'm cleaning windows In my profession I'll work hard But 393 00:50:22.860 --> 00:50:26.900 I'll never stop I'll climb this blinking ladder Till I 394 00:50:26.940 --> 00:50:30.469 get right to the top An old maid walks around 395 00:50:30.530 --> 00:50:33.210 the floor. She's so fed up. One day I'm sure 396 00:50:33.230 --> 00:50:36.190 she'll drag me in and lock the door. When I'm 397 00:50:36.269 --> 00:50:37.349 cleaning windows. 398 00:50:37.949 --> 00:50:41.750 When I'm cleaning windows. When I'm cleaning windows, recorded by 399 00:50:41.809 --> 00:50:44.239 George Formby in November of 1936 and banned that very 400 00:50:44.300 --> 00:50:44.760 same month. 401 00:50:59.170 --> 00:51:05.659 From ever being played on BBC Radio. Let's play another

402 00:51:05.860 --> 00:51:11.940 one by George Formby, a major talent who endlessly played 403 00:51:11.960 --> 00:51:19.739 for the troops during World War II. Formby increased his, well, 404 00:51:19.780 --> 00:51:22.420 I guess you would have to call it national treasure 405 00:51:22.659 --> 00:51:28.469 designation for his efforts during the war. Here is Formby. 406 00:51:28.900 --> 00:51:30.119 with a popular tune. 407 00:51:37.889 --> 00:51:41.650 Now they say there's a troop ship just leaving Bombay, 408 00:51:42.070 --> 00:51:47.519 bound for old Bly, tish your word. Heavily laden with 409 00:51:47.599 --> 00:51:53.619 time-expired men, bound for the land they adore. There's many 410 00:51:53.699 --> 00:51:57.900 an airman just finishing his time. There's many a twerp 411 00:51:57.940 --> 00:52:03.619 signing on. You'll get no promotion this side of the ocean. 412 00:52:03.699 --> 00:52:05.199 So cheer up, my lads. 413 00:52:05.300 --> 00:52:06.360 Bless them all. 414 00:52:06.980 --> 00:52:12.179 Bless them all. Bless them all. The long and the 415 00:52:12.219 --> 00:52:17.429 short and the tall. Bless all the sergeants and W01s 416 00:52:18.710 --> 00:52:22.389 Bless all the corporals and their blinking sons Cos we're 417 00:52:22.469 --> 00:52:27.659 saying goodbye to them all As back to the village 418 00:52:27.760 --> 00:52:32.679 they crawl You'll get no promotion this side of the 419 00:52:32.860 --> 00:52:35.579 ocean So cheer up my lads, bless them. 420 00:52:35.980 --> 00:52:38.949 All Now come on, sing up everybody, let's. 421 00:52:38.840 --> 00:52:40.510 Have a bit of a do. 422 00:52:41.090 --> 00:52:49.309 Bless them all bless them all the long and the 423 00:52:49.329 --> 00:52:54.340 short and the tall bless all the centuries with their 424 00:52:54.380 --> 00:52:58.119 knobbly knees they look full of joy as they stand 425 00:52:58.139 --> 00:53:01.159 there and freeze and if you ask him how does 426 00:53:01.199 --> 00:53:06.650 he feel It'd freeze a brass monkey heel ball. But 427 00:53:06.710 --> 00:53:10.659 you'll get no promotion this side of the ocean. So 428 00:53:10.699 --> 00:53:13.380 cheer up, my lads, bless them all. 429 00:53:14.380 --> 00:53:15.719 Never mind, lads, it'll soon be over. 430 00:53:21.260 --> 00:53:26.469 Bless them all, bless them all The long and the 431 00:53:26.489 --> 00:53:31.849 short and the tall Bless all the ATS girls, nice 432 00:53:31.949 --> 00:53:35.829 and bright Especially the big one I took out last 433 00:53:35.909 --> 00:53:39.630 night I had to stand on a couple of bricks 434 00:53:40.309 --> 00:53:44.539 To kiss her cos she was so tall But she 435 00:53:44.579 --> 00:53:49.199 got the notion, I wanted promotion, so she wrote my lads, 436 00:53:49.340 --> 00:53:50.260 bless them all. 437 00:53:50.590 --> 00:53:57.869 Is that nice of you? That's a big girl. 438 00:53:58.510 --> 00:54:03.750 Bless them all, bless them all, the long and the 439 00:54:03.769 --> 00:54:07.880 short and the tall. Bless the M.O. 440 00:54:07.960 --> 00:54:09.639 Who's a doctor, we hope. 441 00:54:10.369 --> 00:54:13.809 When we feel queery, just hands us some dope and 442 00:54:13.929 --> 00:54:18.469 it makes us sing run, rabbit, run. Now where we 443 00:54:18.510 --> 00:54:23.139 go to, we don't crawl. But you'll get no promotion 444 00:54:23.219 --> 00:54:26.579 this side of the ocean. So cheer up, my lads, 445 00:54:26.760 --> 00:54:32.320 bless them all. Nobody knows what a twerp you've been. 446 00:54:32.559 --> 00:54:34.119 So cheer up, my. 447 00:54:33.860 --> 00:54:35.199 Lads, bless them all. 448 00:54:35.900 --> 00:54:42.289 Bless them all. The legendary George Formby. And thanks so much, Lloyd, 449 00:54:42.369 --> 00:54:47.829 from San Marcos, Texas, and employed by Texas State University, 450 00:54:48.590 --> 00:54:59.309 for writing and listening to the program on KZSM-FM. And folks, 451 00:54:59.409 --> 00:55:02.969 with that, we are out of time. The big hand 452 00:55:03.090 --> 00:55:04.940 on the big bull of a clock here in the 453 00:55:05.000 --> 00:55:08.940 Crystal Studio is approaching the top of the hour. Thanks 454 00:55:08.980 --> 00:55:11.179 so much for joining me today as we go out 455 00:55:11.219 --> 00:55:16.329 with Johnny Dodds and his hot six. To reach me, Jeff, 456 00:55:16.489 --> 00:55:25.130 at MakeBelieveBallroomRadio.com. That's Jeff at MakeBelieveBallroomRadio.com. For past shows or 457 00:55:25.190 --> 00:55:32.800 to record a request, go to MakeBelieveBallroom.com. That's MakeBelieveBallroom.com. Big 458 00:55:32.820 --> 00:55:36.780 thanks to our syndicators and distributors for offering the MakeBelieve 459 00:55:36.820 --> 00:55:42.460 Ballroom cost-free. To commercial-free public community and university radio stations, 460 00:55:42.519 --> 00:55:47.679 they are the Public Radio Exchange, PRX, the Pacifica Network, 461 00:55:48.000 --> 00:55:54.769 and Global Community Radio. The program's flagship affiliate is Jazz 90.1, WGMC, 462 00:55:54.809 --> 00:55:55.630 and Rochester. 463 00:55:55.670 --> 00:55:56.090 New York. 464 00:55:56.809 --> 00:56:00.570 The Ballroom is also heard on your favorite podcast provider. 465 00:56:00.989 --> 00:56:04.909 So friends, until next week, this has been Jeff Bressler. 466 00:56:07.150 --> 00:56:44.409 Oh, my God. © transcript Emily Beynon Thank you. 467 00:57:13.530 --> 00:57:13.829 Thank you. 468 00:57:47.630 --> 00:57:49.829 Thank you.