ကူးယူချက် 🔗
WEBVTT
1
00:00:12.359 --> 00:00:15.000
It's make-believe ballroom.
2
00:00:14.359 --> 00:00:21.609
Time Put all your cares away All the bands are
3
00:00:21.629 --> 00:00:25.589
here To bring good cheer your way.
4
00:00:25.750 --> 00:00:33.670
It's make-believe ballroom time And free to everyone It's no
5
00:00:33.729 --> 00:00:37.509
time to fret, your dial is set for one.
6
00:00:39.890 --> 00:00:41.810
Just close your eyes.
7
00:00:41.840 --> 00:00:45.659
And visualize in your solitude.
8
00:00:46.439 --> 00:00:50.579
Your favorite bands are on the stands and Mr.
9
00:00:50.640 --> 00:00:52.100
Miller puts you in the mood.
10
00:00:52.240 --> 00:00:54.770
It's make-believe ballroom time.
11
00:01:06.150 --> 00:01:09.969
Hello, world. I'm Jeff Bressler, turning on the lights of
12
00:01:09.989 --> 00:01:14.769
the Make-Believe Ballroom and welcoming you into my crystal studio
13
00:01:15.329 --> 00:01:19.540
for another jam-packed program of classic big band music from
14
00:01:19.579 --> 00:01:24.750
the beautiful 1930s and 40s. Please get ready. I've got
15
00:01:24.790 --> 00:01:29.209
an amazing lineup today of jazz, swing, blues, and boogie-woogie
16
00:01:29.250 --> 00:01:34.879
favorites coming your way. Folks, you're listening to the Make-Believe Ballroom,
17
00:01:35.500 --> 00:01:41.620
broadcasting almost continuously since 1935, and proud to be America's
18
00:01:41.780 --> 00:01:48.730
third longest-running musical radio program, and a big warm welcome, welcome,
19
00:01:48.769 --> 00:01:54.329
welcome into the crystal studio. Located at the J1 Studios
20
00:01:54.530 --> 00:01:59.189
right here in Balmy, Fort Lauderdale, Florida. And what a
21
00:01:59.290 --> 00:02:02.349
show I have lined up for you today. I want
22
00:02:02.370 --> 00:02:06.239
to start this edition of The Ballroom with, well, I'll
23
00:02:06.260 --> 00:02:12.439
call it a mini-tribute to Lil Hardin Armstrong. Many corners,
24
00:02:12.960 --> 00:02:17.689
Lil is best known as a former wife of Louis Armstrong.
25
00:02:18.400 --> 00:02:23.960
But in actuality, historically, she was so much more. Lil
26
00:02:24.000 --> 00:02:30.650
was a brilliant pianist, a wonderful vocalist, a talented bandleader,
27
00:02:30.710 --> 00:02:36.789
as well as being an accomplished composer. Lil was an
28
00:02:37.009 --> 00:02:44.030
absolute trailblazer. She was able to carve out a legacy, uh,
29
00:02:45.699 --> 00:02:51.620
and succeed as a black female artist at a time
30
00:02:51.710 --> 00:02:56.009
when the odds were stacked entirely against her being both
31
00:02:56.110 --> 00:03:02.189
black and female. She actually wasn't part of just jazz history.
32
00:03:02.330 --> 00:03:08.569
She helped write it. Very underrated, in my estimation. Let
33
00:03:08.610 --> 00:03:11.460
me play a record by Lel, and then we'll talk
34
00:03:11.520 --> 00:03:16.520
about how she helped shape and reimagine the great Louis
35
00:03:16.740 --> 00:03:18.139
Armstrong himself.
36
00:03:51.810 --> 00:03:54.969
Now come gather round us folks Let us tell you
37
00:03:54.990 --> 00:03:57.569
about this swing Let us tell you about the dance
38
00:03:57.590 --> 00:04:01.780
that was invented just for you Now you swing over here.
39
00:04:01.840 --> 00:04:04.139
Now you swing over there.
40
00:04:04.439 --> 00:04:06.039
Boy, you swing.
41
00:04:05.819 --> 00:04:08.620
On out and you do the boozy cue.
42
00:04:09.099 --> 00:04:10.340
Oh, you're dancing.
43
00:04:11.000 --> 00:04:12.319
Yes, you're prancing.
44
00:04:13.409 --> 00:04:17.449
When you hear the music play, that's your cue.
45
00:04:17.490 --> 00:04:20.870
Yes, you're trucking, doing the shim-sham.
46
00:04:21.720 --> 00:04:25.579
Then you swing on out and you're doing the Susie Q.
47
00:04:25.680 --> 00:04:28.199
Now stop unless you do forget.
48
00:04:28.839 --> 00:04:30.620
You ain't seen nothing yet.
49
00:04:30.959 --> 00:04:35.180
Until you see this dance that's new. Oh, you tuck
50
00:04:35.240 --> 00:04:37.850
over here, you swing over there. You tip just like
51
00:04:37.879 --> 00:04:42.810
you're walking on air. Then you're doing the Susie Q.
52
00:04:43.149 --> 00:04:45.990
Now hot steps, new steps, you will give them.
53
00:04:47.769 --> 00:04:52.689
Good old pep and low-down rhythm Now come and give
54
00:04:52.730 --> 00:04:56.470
yourself a treat Watch these babies shake their feet What
55
00:04:56.529 --> 00:04:58.730
they're doing, they're doing a suzy cute.
56
00:05:48.970 --> 00:05:54.910
We just heard Lil Hardin Armstrong and her swing orchestra
57
00:05:54.970 --> 00:05:57.620
tearing through doing the Susie Q.
58
00:06:17.759 --> 00:06:22.829
Cut out in Chicago on October the 27th, 1936, for
59
00:06:22.910 --> 00:06:29.470
Decca Records. And that record featured a couple of top-shelf sidemen.
60
00:06:29.629 --> 00:06:33.680
You had Joe Thomas on trumpet and the great Buster
61
00:06:33.740 --> 00:06:38.680
Bailey playing the clarinet. Now, I mentioned before the record
62
00:06:38.759 --> 00:06:43.439
that Lil was a driving force and an essential mentor
63
00:06:43.790 --> 00:06:50.230
to Louis Armstrong. When they first met in Chicago, Lil
64
00:06:50.310 --> 00:06:56.129
was already a sophisticated musician and composer, as well as
65
00:06:56.189 --> 00:07:02.420
vocalist and piano player. She was arranging and singing with
66
00:07:02.519 --> 00:07:08.319
King Oliver's Creole jazz band when she met Louis. She
67
00:07:08.379 --> 00:07:14.110
encouraged him at the time. Louis was playing with different groups.
68
00:07:15.120 --> 00:07:19.670
to step out on his own. She understood the level
69
00:07:19.730 --> 00:07:24.529
of talent that Louis had. She went on to refine
70
00:07:24.589 --> 00:07:30.240
his musical presentation, and she really played a massive role
71
00:07:30.899 --> 00:07:37.860
in steering him towards international superstardom. She even, it's said,
72
00:07:38.699 --> 00:07:43.490
redressed and got a new hairstyle for
Load full transcript
Louis, who she
73
00:07:43.550 --> 00:07:50.220
considered to be Rural looking, somewhat like a country bumpkin
74
00:07:50.379 --> 00:07:54.600
from Louisiana. Why don't we listen once again to the
75
00:07:54.980 --> 00:07:58.759
incomparable Lil Hardin Armstrong.
76
00:07:58.790 --> 00:08:05.050
LIL HARDIN ARMSTRONG.
77
00:08:24.069 --> 00:08:26.870
Now I was always known to be the vamp of
78
00:08:26.930 --> 00:08:30.759
my hometown, and everyone could plainly see that I'd make
79
00:08:30.819 --> 00:08:34.279
any man my clown. I broke the hearts of many men.
80
00:08:34.659 --> 00:08:37.059
The way I did it shows a sin, but now
81
00:08:37.100 --> 00:08:40.639
those days are gone. Since my hidey-hole man came along,
82
00:08:40.659 --> 00:08:43.600
I fell for a hidey-hole man, and he means the
83
00:08:43.639 --> 00:08:46.230
world to me. And I don't want to make you
84
00:08:46.299 --> 00:08:50.169
understand what's on him to see. Sometimes I quit him,
85
00:08:50.230 --> 00:08:52.529
it's all in vain. It's just too bad when he
86
00:08:52.570 --> 00:08:53.250
hides all again.
87
00:08:53.269 --> 00:08:55.350
Mmm, my little hidey-hole man.
88
00:08:55.730 --> 00:08:57.029
Ba-ba-dee-doo-doo-doo-doo.
89
00:09:14.029 --> 00:09:16.929
Now, that was my little hidey-hole man, but he ain't
90
00:09:16.970 --> 00:09:17.850
worth a dime.
91
00:09:18.269 --> 00:09:20.350
Now, all that I can ever get from him is
92
00:09:20.389 --> 00:09:23.149
just a gang of beat-up times. Say, he treats me
93
00:09:23.169 --> 00:09:25.580
mean and he sometimes hits me. I don't care as
94
00:09:25.620 --> 00:09:28.620
long as he don't quit me. My little hidey-hole man.
95
00:09:50.070 --> 00:09:54.929
Now, folks, did you hear my hearty ho man?
96
00:10:06.620 --> 00:10:07.639
Oh, he's my honey.
97
00:10:08.039 --> 00:10:09.970
I'm going to bump back bar and steal all I
98
00:10:10.019 --> 00:10:10.669
can till.
99
00:10:10.549 --> 00:10:11.830
He can have his correct money.
100
00:10:12.250 --> 00:10:15.149
Say he stays out late, won't even phone. Tells me
101
00:10:15.210 --> 00:10:16.490
my place is home alone.
102
00:10:17.490 --> 00:10:18.570
Such a little hidey hole man.
103
00:10:38.559 --> 00:10:43.100
Folks, we just heard another sizzling side by Lil, my
104
00:10:43.240 --> 00:10:49.039
hidey-ho man, recorded at the same deck of session that
105
00:10:49.259 --> 00:10:56.690
doing the Susie Q was recorded on October the 27th, 1936. So,
106
00:10:56.710 --> 00:11:01.190
a little music and a little about the wonderful Lil
107
00:11:01.409 --> 00:11:09.049
Hardin Armstrong. Folks, head over to makebelieveballroom.com. It's your ultimate
108
00:11:09.470 --> 00:11:13.210
online destination for the Make Believe Ballroom. We've got over
109
00:11:13.210 --> 00:11:18.620
260 past episodes waiting for you right now with brand
110
00:11:18.639 --> 00:11:21.820
new shows and some of the older vintage ones that
111
00:11:21.840 --> 00:11:25.440
I've been able to dig up
added all the time.
112
00:11:25.480 --> 00:11:31.470
That's over 260 hours of incredible big band jazz, swing blues,
113
00:11:31.629 --> 00:11:38.019
boogie woogie, and Dixieland music available 24-7. So keep the
114
00:11:38.059 --> 00:11:45.480
music playing. Bookmark makebelieveballroom.com today and dive into the ultimate
115
00:11:46.090 --> 00:11:53.009
library of classic American swing radio programs through our past shows.
116
00:11:53.730 --> 00:11:59.350
And now a song from the short-lived Burt Block and
117
00:11:59.409 --> 00:12:00.230
his orchestra.
118
00:12:49.269 --> 00:12:53.919
No other one, yes, no other one Can ever do
119
00:12:53.980 --> 00:12:55.220
what you do when.
120
00:12:55.080 --> 00:12:57.279
You do what you do Kissing.
121
00:12:56.899 --> 00:13:02.100
Me, oh, no other one, yes, no other one Can
122
00:13:02.139 --> 00:13:04.980
ever make me like you, like you, like I'd like.
123
00:13:04.799 --> 00:13:09.259
To constantly talk about caresses.
124
00:13:08.610 --> 00:13:11.769
With an 18-carat thrill. I don't have to.
125
00:13:11.610 --> 00:13:14.289
Make three guesses when I'm thinking of someone who can
126
00:13:14.330 --> 00:13:14.970
fill the bill.
127
00:13:15.009 --> 00:13:18.720
There's no other one, yes, no other one.
128
00:13:19.320 --> 00:13:22.039
Can ever make me want to want to say, who
129
00:13:22.059 --> 00:13:22.740
do I want.
130
00:13:22.700 --> 00:13:25.289
In a great big way? No other one.
131
00:13:26.289 --> 00:13:28.289
¶ ¶.
132
00:14:44.250 --> 00:14:47.029
Folks, before we move on, I want to share a
133
00:14:47.169 --> 00:14:52.360
fascinating little slice of record history about that last side.
134
00:14:53.340 --> 00:14:57.419
That was, indeed, Burt Block and his orchestra with No
135
00:14:57.620 --> 00:15:04.299
Other One, recorded in New York City on October the 3rd, 1935,
136
00:15:04.299 --> 00:15:10.929
on the Perfect label. Now, interestingly, that was the very
137
00:15:11.049 --> 00:15:18.169
first of five documented records commercial recording sessions for Bloch's orchestra,
138
00:15:18.980 --> 00:15:23.860
and it's the only one that didn't carry the quote-unquote
139
00:15:24.120 --> 00:15:29.860
and his bells billing. Yes, all other Bloch's sides included
140
00:15:29.940 --> 00:15:35.779
the addition of bell music within the song. Also on
141
00:15:35.830 --> 00:15:44.799
that particular ARC record date, the legendary Axl Stardahl served
142
00:15:45.139 --> 00:15:49.899
double duty as both trumpeter and arranger, and he even
143
00:15:49.940 --> 00:15:54.039
stepped up to the microphone. He joined fellow trumpeter Joe
144
00:15:54.120 --> 00:16:00.139
Bauer and longtime vocalist Jack Leonard to form the vocal
145
00:16:00.220 --> 00:16:05.740
trio known on the label as the Three Chirps. If
146
00:16:06.120 --> 00:16:11.350
those names sound familiar, well, I've told this story on
147
00:16:11.379 --> 00:16:16.159
a past show, All three of them would soon, after
148
00:16:16.220 --> 00:16:21.379
that recording session, head off to join the Tommy Dorsey Band,
149
00:16:22.159 --> 00:16:26.759
where they continued performing together as a vocal trio under
150
00:16:26.799 --> 00:16:33.779
the moniker of not the Three Chirps, but the Three Esquires. So,
151
00:16:34.139 --> 00:16:38.000
here on the Make-Believe Ballroom, I now offer you Tommy
152
00:16:38.039 --> 00:16:44.350
Dorsey and his orchestra. Edith Wright and the Three Esquires.
153
00:16:45.350 --> 00:16:47.350
¶ ¶.
154
00:17:17.369 --> 00:17:29.829
Start to swing, it's a jamboree Have your fling, it's
155
00:17:30.089 --> 00:17:36.759
a jamboree Get that music to wear you down Rockin'
156
00:17:36.819 --> 00:17:42.380
rhythm to tear you down Here we go, stepping wide
157
00:17:42.480 --> 00:17:48.880
and high. Trumpets blow while we're riding high. Go to town,
158
00:17:48.900 --> 00:17:54.890
spread the jam with me. Start to swing, it's a jamboree.
159
00:17:55.369 --> 00:17:59.549
Social devs and college tutors mixed with Broadway hands. Stage
160
00:17:59.589 --> 00:18:03.990
celebs and cloak and suitors, why, everybody jams. Crazy punks
161
00:18:04.029 --> 00:18:06.680
who've got ambitions, throw them all away.
162
00:18:06.720 --> 00:18:10.660
Sailors, drunks, and hot musicians get right in the sway.
163
00:18:11.019 --> 00:18:14.170
Gigolos with their painted eyebrows, picking up wealthy frumps.
164
00:18:14.589 --> 00:18:18.049
And the bigolos, known as Boston Highbrows, doing the Harlem bumps.
165
00:18:18.910 --> 00:18:23.539
All the swells and honky-tonks from Brooklyn to the Bronx.
166
00:18:22.700 --> 00:18:27.000
Feel that shockin' rockin' rhythm of the jamboree You've got
167
00:18:27.019 --> 00:18:27.759
to go get.
168
00:18:27.599 --> 00:18:30.210
Into your stride You've got to go get ready.
169
00:18:29.890 --> 00:18:34.490
To ride Start to swing, it's a jamboree.
170
00:18:55.009 --> 00:19:01.390
That was Tommy Dorsey and his orchestra with Jamboree, a
171
00:19:01.990 --> 00:19:06.160
song sourced from the Universal film Top of the Town,
172
00:19:06.319 --> 00:19:11.400
recorded in New York City at RCA Victor's Studio 3.
173
00:19:11.400 --> 00:19:18.460
That was their East 24th Street studio. on November the 24th, 1936,
174
00:19:18.460 --> 00:19:23.400
under the Victor label. It's written by Jimmy McHugh and
175
00:19:23.660 --> 00:19:29.549
Harold Adamson. And that side featured the wonderful vocal by
176
00:19:29.829 --> 00:19:36.109
Edith Wright, alongside the Three Esquires, who, as I earlier mentioned,
177
00:19:36.170 --> 00:19:41.609
were none other than Jack Leonard, Joe Bauer, and Axel Stordahl.
178
00:19:42.359 --> 00:19:48.049
So we were talking about Burt Block and his orchestra
179
00:19:48.950 --> 00:19:53.109
that had a limited range. run, both as a record
180
00:19:53.410 --> 00:19:58.650
and live performance group. But don't worry about Bert. He
181
00:19:58.710 --> 00:20:03.200
went on to become a, well, a hugely famous recording
182
00:20:03.259 --> 00:20:08.670
company agent and executive. I guess you had bands like
183
00:20:08.769 --> 00:20:12.410
Blocks that were a limited run, to say the least.
184
00:20:12.559 --> 00:20:16.880
But while I was playing Tommy Dorsey and the Three Esquires,
185
00:20:17.680 --> 00:20:21.640
I was thinking about which big bands had the longest
186
00:20:21.720 --> 00:20:26.579
amount of longevity. Let me spin another record, then the
187
00:20:26.799 --> 00:20:31.210
top two and some of their music. Who do you
188
00:20:31.289 --> 00:20:35.950
folks think were the two legendary big bands with the
189
00:20:36.210 --> 00:20:39.430
greatest continuous longevity?
190
00:20:40.430 --> 00:20:42.430
¶ ¶.
191
00:21:26.180 --> 00:22:25.700
So so my my.
192
00:23:20.589 --> 00:23:29.869
Folks, if you were holding an original.
193
00:23:28.490 --> 00:23:35.009
Copy of Vocalion record number... 5493.
194
00:23:51.619 --> 00:23:56.009
In your hands, you'd see right there on the label,
195
00:23:56.269 --> 00:24:01.529
it says Bobby Hackett's tribute to Bix Beiderbecke. It's a
196
00:24:01.549 --> 00:24:07.170
gorgeous sign. Horace Haidt presenting Bobby Hackett and his orchestra
197
00:24:08.029 --> 00:24:13.309
with Singin' the Blues, recorded in Los Angeles on February
198
00:24:13.329 --> 00:24:20.569
the 1st, 1940. However, whoever was proofreading the record label
199
00:24:20.609 --> 00:24:26.420
that day, clearly had their mind on a totally different topic.
200
00:24:27.519 --> 00:24:30.539
Perhaps it was a coffee break. Perhaps it was a
201
00:24:30.599 --> 00:24:35.420
woman's phone number that that individual obtained on a matchbook.
202
00:24:36.380 --> 00:24:41.529
We don't know, but the label credits the song written
203
00:24:42.509 --> 00:24:48.759
by Jimmy McHugh and Dorothy Fields, who actually wrote a
204
00:24:48.839 --> 00:24:55.779
totally different tune called Singin' the Blues back in 1931.
205
00:24:55.779 --> 00:25:00.400
The real authors behind this classic jazz standard that we
206
00:25:00.440 --> 00:25:06.410
just heard were J. Russell Robinson and Con Conrad. Now,
207
00:25:06.670 --> 00:25:09.869
how on earth did a mix-up like that make it
208
00:25:10.089 --> 00:25:16.869
onto a pressing plant master? Well, Record labels back in
209
00:25:16.890 --> 00:25:22.880
the 1940s were rushing releases out the door at a
210
00:25:23.180 --> 00:25:31.240
breakneck pace, relying on tired typists, I guess. Handwritten, poorly handwritten,
211
00:25:31.319 --> 00:25:35.980
I must say, session sheets passed from studio to office
212
00:25:36.160 --> 00:25:44.470
and likely serious problems and zero second guessing. A busy
213
00:25:44.829 --> 00:25:48.910
layout artist probably saw us singing the blues and pulled
214
00:25:49.450 --> 00:25:54.299
the first title match in their publishing catalog, which happened
215
00:25:54.359 --> 00:25:59.579
to be the McHugh and Fields tune, and they ended
216
00:25:59.640 --> 00:26:03.380
up slapping it right on the label before anyone had
217
00:26:03.420 --> 00:26:08.900
a chance to check the sheet music. The glamorous, era-prone
218
00:26:09.089 --> 00:26:14.349
romance of the 78 RPM era. so quaint and homey,
219
00:26:15.069 --> 00:26:20.480
so disorganized, similar to the console here in the Crystal Studio.
220
00:26:21.099 --> 00:26:23.880
I'm Jeff Bressler, and you're listening to the one, the only,
221
00:26:23.940 --> 00:26:29.279
the original Make-Believe Ballroom on the radio since 1935, making
222
00:26:29.299 --> 00:26:35.369
this program America's third longest-running radio show. Before I played
223
00:26:35.789 --> 00:26:39.849
Bobby Hackett and told you that label story, I asked
224
00:26:39.890 --> 00:26:42.900
you to think about the Two big bands that had
225
00:26:42.940 --> 00:26:47.720
the greatest longevity. So why don't I begin with number two?
226
00:26:48.940 --> 00:26:52.519
And when you talk about true longevity in the big
227
00:26:52.599 --> 00:26:59.039
band world, few can touch the Duke Ellington Orchestra. And
228
00:26:59.059 --> 00:27:01.609
I'm sure many of you had that either as number
229
00:27:01.809 --> 00:27:08.109
one or number two. For over 50 continuous years under
230
00:27:08.170 --> 00:27:14.950
Duke's direct leadership, starting way back in 1923 until his
231
00:27:15.029 --> 00:27:24.049
passing in 1974, Duke Ellington treated his orchestra not merely
232
00:27:24.250 --> 00:27:29.069
as a touring dance band, but more importantly as a
233
00:27:29.309 --> 00:27:37.440
living laboratory for composition. And by writing custom arrangements, that
234
00:27:37.480 --> 00:27:42.579
were tailored specifically to the unique individual tones of his
235
00:27:43.200 --> 00:27:52.630
star sidemen, the group developed an inimitable, constantly fresh new sound.
236
00:27:53.849 --> 00:28:04.960
The Duke. The Duke.
237
00:31:28.539 --> 00:31:33.180
That smooth swinging classic was just a sitting and a
238
00:31:33.539 --> 00:31:39.029
rocking composed by Duke Ellington, Billy Strayhorn. and Lee Gaines,
239
00:31:39.109 --> 00:31:41.470
and it was recorded in New York City at the
240
00:31:41.710 --> 00:31:46.380
RCA Victor Studio No. 2, which we had just discussed
241
00:31:46.410 --> 00:31:52.380
a few moments ago on April 26, 1945. And now
242
00:31:52.440 --> 00:31:57.380
my beloved audience, the beloved band that has had the
243
00:31:58.160 --> 00:32:03.220
longest run of longevity of all the big bands in history.
244
00:32:04.019 --> 00:32:07.950
When we talk about the ultimate band I guess you'd
245
00:32:07.990 --> 00:32:13.809
have to call it marathon contest of the big band world.
246
00:32:13.890 --> 00:32:17.250
We have to look no further than, and I'm sure
247
00:32:17.289 --> 00:32:21.960
many of you got this correct, Count Basie and his orchestra.
248
00:32:22.859 --> 00:32:27.960
For over 90 years, they have been in continuous operation
249
00:32:28.079 --> 00:32:32.759
since the founding by Count Basie back in Kansas City
250
00:32:32.799 --> 00:32:39.750
in 1935 and long after. Basie passed in 1984. The
251
00:32:40.029 --> 00:32:46.480
orchestra continued and continues to tour and record under the
252
00:32:46.559 --> 00:32:51.259
direction of a number of esteemed band leaders, the likes
253
00:32:51.480 --> 00:32:56.859
of which have been Thad Jones led the band for
254
00:32:56.880 --> 00:33:01.000
a number of years, Frank Foster, a number of others.
255
00:33:02.319 --> 00:33:07.920
So we can say that Count Basie And his orchestra
256
00:33:08.039 --> 00:33:14.700
stand as the longest-running active big band in jazz history.
257
00:33:15.819 --> 00:33:19.900
And a song now with the title of something Count
258
00:33:19.940 --> 00:33:22.930
Basie certainly did not do.
259
00:33:23.930 --> 00:33:25.930
¶ ¶.
260
00:36:24.630 --> 00:36:29.250
Friends, that incredible jump tune was Doggin' Around, composed by
261
00:36:29.309 --> 00:36:34.489
the brilliant tenor saxophonist Herschel Evans, and Count Basie certainly
262
00:36:34.510 --> 00:36:39.110
never wanted to dog it. And that fine disc was
263
00:36:39.250 --> 00:36:43.429
recorded in New York City. June the 6th, 1938 by
264
00:36:43.530 --> 00:36:47.449
Count Basie and his orchestra and released on Decca Records.
265
00:36:48.210 --> 00:36:53.000
The two big bands with the longest longevity, Count Basie
266
00:36:53.599 --> 00:36:58.980
and Duke Ellington. And I think it's Guy Lombardo who
267
00:36:59.039 --> 00:37:04.590
holds the distinction of being third on that list. Quick
268
00:37:04.630 --> 00:37:07.670
reminder for all of our listeners, make sure to head
269
00:37:07.789 --> 00:37:12.389
over and subscribe to the Make Believe Ballroom Radio Facebook
270
00:37:12.429 --> 00:37:17.360
page to catch daily record plays, historical features, and some
271
00:37:17.960 --> 00:37:22.079
added programming you don't hear on the radio. Subscribe to
272
00:37:22.280 --> 00:37:25.920
Make Believe Ballroom Radio on Facebook.
273
00:37:38.369 --> 00:37:42.019
Got a snap in my fingers Got rhythm in my
274
00:37:42.059 --> 00:37:46.440
walk As the elephants say I'm living in a great.
275
00:37:46.199 --> 00:37:47.619
Big way.
276
00:37:48.920 --> 00:37:50.340
Got a handful.
277
00:37:50.000 --> 00:37:54.199
Of nothing And I watch it like a hawk Well,
278
00:37:54.239 --> 00:37:55.960
I'm doing okay I'm.
279
00:37:55.860 --> 00:38:01.369
Living in a great big way.
280
00:37:59.929 --> 00:38:03.280
I'm the salt in the ocean I'm the sun in
281
00:38:03.320 --> 00:38:04.039
the sky.
282
00:38:05.280 --> 00:38:06.139
I'm a Franklin D.
283
00:38:06.260 --> 00:38:07.019
Roosevelt.
284
00:38:07.739 --> 00:38:09.619
I'm a million dollars long as.
285
00:38:09.719 --> 00:38:11.699
I got a snap in my fingers.
286
00:38:11.719 --> 00:38:14.559
Got a rhythm in my walk.
287
00:38:15.199 --> 00:38:16.420
Got the devil to pay.
288
00:38:16.880 -->
00:38:19.400
I'm living in a great big way.
289
00:38:19.780 --> 00:38:19.849
Oh.
290
00:40:33.989 --> 00:40:37.269
We just heard that wonderful number, I'm Livin' in a
291
00:40:37.349 --> 00:40:41.650
Great Big Way, sourced from the film Hooray for Love,
292
00:40:42.150 --> 00:40:46.659
recorded in New York City at the Brunswick Studios on
293
00:40:46.739 --> 00:40:48.639
April 3rd, 1935, by Louis Prima and his New Orleans gang,
294
00:40:48.659 --> 00:40:59.510
and released today. on Naturally Brunswick Records. Let me play
295
00:40:59.550 --> 00:41:03.820
another tune, then a listener's email regarding a recent segment
296
00:41:04.099 --> 00:41:08.659
we had on the program about band leader feuds.
297
00:41:10.719 --> 00:41:11.699
Piano plays.
298
00:43:42.989 --> 00:43:48.030
That swingin' rendition of 920 Special was recorded in 1944
299
00:43:48.030 --> 00:43:55.619
for the Langworth Transcription Service, featuring Sonny Dunham and his orchestra,
300
00:43:55.960 --> 00:44:00.659
Sonny Dunham. one of the premier trumpet and valve trombone
301
00:44:00.739 --> 00:44:06.420
virtuosos of the swing era. I'm Jeff Bressler, and I'm
302
00:44:06.519 --> 00:44:10.119
swinging through another edition of the Make Believe Ballroom coming
303
00:44:10.179 --> 00:44:14.510
to you from the Crystal Studio in the J1 Studios
304
00:44:14.610 --> 00:44:18.210
in Fort Lauderdale, Florida. And thanks so much for listening
305
00:44:18.289 --> 00:44:23.880
in today. To reach me, I'm Jeff at makebelieveballroomradio.com. That's
306
00:44:23.929 --> 00:44:29.139
Jeff at makebelieveballroomradio.com. And if you were with us a
307
00:44:29.179 --> 00:44:32.139
few weeks ago, I did a segment on band leader
308
00:44:32.300 --> 00:44:36.969
feuds and as a result got quite a few emails
309
00:44:37.050 --> 00:44:43.050
about that. Last week I read a listener's email who
310
00:44:43.110 --> 00:44:49.329
wanted more information on the Frank Sinatra-Buddy Rich feud. It
311
00:44:49.349 --> 00:44:53.269
was actually more of a tiff than a feud actually.
312
00:44:53.800 --> 00:44:55.840
I've used that word tiff my whole life, and I
313
00:44:55.880 --> 00:44:57.829
don't actually know what it means. I'm going to have
314
00:44:57.869 --> 00:45:02.230
to look that up. Today, though, I have what would
315
00:45:02.289 --> 00:45:06.590
be described as feud hyphen tiff. Not quite a feud
316
00:45:06.820 --> 00:45:11.260
or tiff, but a little of both. And Alfred Carnes
317
00:45:11.639 --> 00:45:15.460
wants to be illuminated on the tensions between Benny Goodman
318
00:45:15.539 --> 00:45:20.789
and Gene Krupa. And Alfred, who listens on Jazz 90.1
319
00:45:20.789 --> 00:45:23.389
in Rochester, New York, was nice enough to take the
320
00:45:23.489 --> 00:45:26.780
time to sit down and ask the question, which I
321
00:45:26.840 --> 00:45:32.960
deeply appreciate. So for you, Alfred, as the story goes, well,
322
00:45:33.340 --> 00:45:38.199
it really all blew wide open
at Benny Goodman's historic concert.
323
00:45:39.119 --> 00:45:44.579
January the 16th, 1938 Carnegie Hall concert, which I have
324
00:45:44.639 --> 00:45:48.630
covered extensively over the years here in the Make-Believe Ballroom.
325
00:45:49.849 --> 00:45:53.789
I'm sure most of you have heard Gene Krupa's explosive
326
00:45:53.909 --> 00:45:58.699
drum solo on Sing, Sing, Sing, which brought the house
327
00:45:58.760 --> 00:46:04.099
down and made him, Gene, the most talked-about musician in
328
00:46:04.139 --> 00:46:10.760
the entire Benny Goodman orchestra. The problem with that, well,
329
00:46:10.800 --> 00:46:15.679
the problem with that was Benny Goodman, who was notorious
330
00:46:15.820 --> 00:46:22.690
among his own sidemen for a wordless, icy stare nicknamed
331
00:46:23.050 --> 00:46:29.860
The Ray, which we spoke about recently. And that I, Ray,
332
00:46:30.519 --> 00:46:35.739
was aimed at Gene Krupa because Benny deeply at his
333
00:46:35.900 --> 00:46:42.329
own concert being upstaged by his own drummer. Now Lionel Hampton,
334
00:46:43.090 --> 00:46:46.170
who shared the stage with both of them, put the
335
00:46:46.230 --> 00:46:54.409
conflict simply. He said that Goodman disliked the showmanship, overshadowing
336
00:46:54.489 --> 00:47:00.199
what he considered the real music, while Gene Krupa firmly
337
00:47:00.280 --> 00:47:05.699
believed that the showmanship was the whole point of the
338
00:47:05.760 --> 00:47:11.199
Carnegie Hall concert. The tension came to a head afterwards
339
00:47:11.320 --> 00:47:15.929
when Krupa left Goodman later that year to form his
340
00:47:16.010 --> 00:47:20.610
own successful big band that debuted at Atlantic City's Steel
341
00:47:20.710 --> 00:47:27.260
Pier in New Jersey. But, Alfred, thankfully, time heals old
342
00:47:27.340 --> 00:47:34.679
wounds and the two eventually reconciled reuniting on stage several
343
00:47:34.739 --> 00:47:39.000
times over the following decades to the delight of jazz
344
00:47:39.059 --> 00:47:44.780
fans everywhere. So a happy ending to that TIFF-feud. And
345
00:47:44.880 --> 00:47:48.840
thank you, Alfred Carnes, for your email asking for more
346
00:47:48.960 --> 00:47:54.690
information on the dynamics between Gene Krupa and Benny Goodman.
347
00:47:56.480 --> 00:48:00.710
And now, hopefully, some happy music. A little while back
348
00:48:00.750 --> 00:48:03.610
in the program, we played a song by Sonny Dunham
349
00:48:03.670 --> 00:48:08.550
that was recorded for the Langworth Transcription Service to be
350
00:48:08.690 --> 00:48:15.949
used as syndicated musical radio material geared for independent radio
351
00:48:15.989 --> 00:48:22.730
stations around the country in 1944. In 1941, there was
352
00:48:22.829 --> 00:48:28.360
a major Langworth transcription recording series that was released to
353
00:48:28.510 --> 00:48:35.219
independent stations. It was a 21-track collection recorded at New
354
00:48:35.280 --> 00:48:43.650
York's Leader Kranz Hall in 1941 for the Langworth Transcription
355
00:48:43.710 --> 00:48:47.289
Library to be distributed at a later date. It featured
356
00:48:47.349 --> 00:48:51.889
the Ten tracks by the Woody Herman Orchestra with vocals
357
00:48:51.949 --> 00:48:58.010
by Woody, Muriel Lane, and Steddy Nelson. And also there
358
00:48:58.050 --> 00:49:02.230
were 11 tracks by the Gene Krupa Orchestra with vocals
359
00:49:02.289 --> 00:49:08.130
by Anita O'Day, Roy Eltridge, and Howard Delaney. Let me
360
00:49:08.190 --> 00:49:14.199
play a track by Krupa from that session for Langworth.
361
00:49:14.900 --> 00:49:18.550
Then I'll play one by Woody Herman. Although they were
362
00:49:18.570 --> 00:49:22.719
in the same hall, they did not record any mutual
363
00:49:22.820 --> 00:49:28.300
or combined material for that Langworth session. So let's start
364
00:49:28.440 --> 00:49:29.860
off with Gene Krupa.
365
00:49:29.860 --> 00:50:48.989
¦ What a fool am I To love you so
366
00:50:49.030 --> 00:50:57.159
dearly What a fool am I To show it so clearly.
367
00:50:57.320 --> 00:51:02.539
I've been acting like a schoolgirl In her first romantic
368
00:51:02.679 --> 00:51:08.099
affair But I can't change this feeling I'm so in
369
00:51:08.159 --> 00:51:10.019
love And I don't.
370
00:51:09.820 --> 00:51:12.039
Care What a fool am I.
371
00:51:13.699 --> 00:51:19.139
To spend days in dreaming when I know that I
372
00:51:19.980 --> 00:51:26.119
should really be scheming. But instead, I'll keep on waiting
373
00:51:26.559 --> 00:51:30.550
till the day that you'll be mine. And I'll play
374
00:51:30.590 --> 00:51:33.199
the part of a broken heart.
375
00:51:33.710 --> 00:51:35.489
Fool is fool, am I?
376
00:51:35.510 --> 00:51:41.750
Guitar solo.
377
00:52:42.289 --> 00:52:46.409
A Fool Am I, Gene Krupa and his orchestra, vocal
378
00:52:46.449 --> 00:52:54.880
by Anita O'Day, recorded at the 1941 Langworth Transcription Session
379
00:52:55.539 --> 00:52:58.760
in New York City. Now Woody in the same building
380
00:52:59.000 --> 00:53:00.159
at the same time.
381
00:53:09.440 --> 00:53:13.820
For there's a change in the weather, there's a change
382
00:53:13.940 --> 00:53:19.179
in the sea. From now on there'll be a change
383
00:53:19.280 --> 00:53:24.199
in me. My walk will be different My talk and
384
00:53:24.280 --> 00:53:30.449
my name Nothing about me's gonna be the same I'm
385
00:53:30.510 --> 00:53:34.530
gonna change my way of living And if that ain't
386
00:53:34.610 --> 00:53:38.449
enough Then I'll change.
387
00:53:37.949 --> 00:53:40.489
The way I strut my stuff.
388
00:53:41.010 --> 00:53:42.880
Cause nobody wants.
389
00:53:42.659 --> 00:53:45.719
You when you're old and gray.
390
00:53:46.380 --> 00:53:55.889
There'll be some changes made today. There'll be some changes made.
391
00:54:25.519 --> 00:54:29.610
I'm gonna change my way of living and if that
392
00:54:29.760 --> 00:54:35.429
ain't enough then I'll change the way I strut my
393
00:54:35.489 --> 00:54:42.230
stuff cause nobody wants you when you're old and There'll
394
00:54:42.289 --> 00:54:43.110
be some.
395
00:54:42.949 --> 00:54:50.019
Changes made today There'll be some changes.
396
00:54:49.300 --> 00:55:01.150
Made Woody Herman and his orchestra, vocal by Muriel Lane
397
00:55:02.039 --> 00:55:08.860
From the 1941 Langworth transcription recordings session, there'll be some
398
00:55:08.960 --> 00:55:13.780
changes made. And folks, we are out of time. And
399
00:55:13.840 --> 00:55:17.389
I'm going out with Teddy Wilson and his orchestra recorded
400
00:55:17.429 --> 00:55:22.030
for Columbia in New York City, January the 18th, 1940,
401
00:55:22.030 --> 00:55:26.829
with the song titled 71. To reach me, I'm Jeff
402
00:55:26.989 --> 00:55:34.699
at makebelieveballroomradio.com. That's jeff at makebelieveballroomradio.com. For past shows or
403
00:55:34.760 --> 00:55:42.429
recorded requests, please go to makebelieveballroom.com, makebelieveballroom.com. Please join me
404
00:55:42.550 --> 00:55:47.429
on the Make-Believe Ballroom Radio Facebook page for new recordings
405
00:55:47.510 --> 00:55:52.090
and features daily that augment the radio version of the show.
406
00:55:52.650 --> 00:55:56.400
Quick thanks to our syndicators and distributors for offering the
407
00:55:56.440 --> 00:56:01.659
Make-Believe Ballroom radio cost-free to commercial-free public community and university
408
00:56:01.719 --> 00:56:06.829
radio stations. They are the Public Radio Exchange, PRX, the
409
00:56:06.969 --> 00:56:13.090
Pacifica Network, and Global Community Radio. The program's flagship affiliate
410
00:56:13.170 --> 00:56:19.159
is Jazz 90.1, WGMC in Rochester, New York. The Ballroom
411
00:56:19.219 --> 00:56:23.440
is also heard on your favorite podcast provider. So friends,
412
00:56:23.519 --> 00:56:27.059
until next week, this has been Jeff Bressler.
413
00:56:30.369 --> 00:56:30.710
Thank you.