WEBVTT
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It's make Believe ballroom time. Put all your cares away.
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All the bands are here to bring good cheer your way.
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It's make Belief ballroom time and free to everyone. It's
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no time to friend your Dalis said Bamba.
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Yours.
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Close your eyes and visualize in your solitude. Your favorite
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bands are on this dance and mister Miller, what you're
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in the mood. It's make Believe ballroom time. We are
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a sweet romance.
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Is make live.
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Come on, Jim, Last Dance.
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Last, Hello World. I'm Jeff Pressler, turning on the lights
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of the Make Believe Ballroom and welcoming you into my
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crystal studio for another program of classic big band music
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from the nineteen thirties and forties. Please get ready as
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I play for you some amazing jazz, swing, blues and
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boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom,
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broadcasting almost continuously since nineteen thirty five, and to welcome. Welcome,
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Welcome one and all, and thanks for joining me today.
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Let's start this week's musical journey at Caxton Hall in London,
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the old historic Marriage Registry Office.
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Now, how about one of your inimitable renditions.
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Okay, Jimmy, we'll do one which features Buddy Rich on drums,
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and it's called Caxton Hall Swings.
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Come Pa.
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That was Harry James and Buddy Rich with their version
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of Caxton Hall Swing from a radio program back in
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nineteen fifty three. And why was the song named Caxton
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Hall Swing? Well, it was composed and penned by the
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great drummer Louis Belson. Belson, if not, if I'm not mistaken,
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was the pioneer, the first one to use two bass drums.
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Belson was married for decades to the vocalist and actress
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Pearl Bally, and they got married at the Caxton Hall Registry,
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and Belson composed the Caxton Hall Swing in honor of
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that occasion. And now in honor of Louis Belson. Louis
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and Tommy Dorsey and his orchestra.
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Dit s I any s s s S S says.
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Hums Louis Belson with Tommy Dorsey and his Orchestra, recorded
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March the eleventh, nineteen forty nine Drumology from RCA victor
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of forty five RPM record. Now why don't I go
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to missus Belson? The late great Pearly.
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May no one nor why walkin ronin one lo there
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lowe that I'm not on suso for this reading life
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of love?
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No one, no.
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Whycle my, I'm a life that ride on good stream.
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He ron my riding high or no he.
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Borrowway from the usual draw.
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With the world of mind.
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Have my be.
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All bec.
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Ever list.
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You have placed.
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That be me?
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Ever dreams in my wildest dream that.
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I'd fall.
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Wife so on holidays. No, I don't love all that
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is cracked up to be love all black up to be.
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Pearl Bailey along with Coody Williams and his orchestra now
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I know, recorded on the Budget Hit label back in
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nineteen forty four. I'm Jeff Presler and you're listening to
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the weekly edition of the Make Believe Ballroom. Thanks for
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joining me in the Crystal studio today and listening to
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Pearl Bailey certainly brings back memories of one My beloved
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mother used to take me on theater excursions to Broadway,
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and one of my favorite shows was the all black
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cast revival of Hello Dolly that starred Pearl Bally, which
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was on Broadway. I guess I was in high school.
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It was probably around nineteen sixty seven or sixty eight
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and Pearl. In Hello Dolly played Dolly Gallagher, a role
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that was originally made famous by Carol Channing, another Broadway legend.
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Now Another fellow in that cast was the gentleman who
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played Horace van der Geller, a gentleman I really didn't
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know that much about at the time, but who eventually
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became one of my favorites of all time. And here
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he is.
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I love the thing. I'm out of moon oran a tune,
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Rana springer. I love to singer. I'm out a sky
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of blue and a teeth worn tua any single with
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the swinger rummer.
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I love you all.
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To say, gonna give.
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Me your sma.
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I'm out a sane gun that went and done a WRONGA,
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but keep it cleaner. My acada is smaller with the
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water balla and the saba trama to what blue birds
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call her. I was born a singing pulla Landida, Oh
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major boat is gonna spot me? Got through year with
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pulah Bullah, Landida Oh, microphones got me.
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I love to singer.
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I love the wingle with the tamba in my MoMA
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and wave a flagger with a cheer for Uncle Sammy
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and another form of Mammy. Un Swinging is im singing,
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is bell ringing, is long sing.
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It is Tut tut.
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On Brunswick Records. I Love to SINGA by Cab Callaway
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and his Orchestra Vocal by Cab recorded in Los Angeles, California,
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January the twenty seventh, nineteen thirty six, and Cab did
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indeed star alongside Pearl Balley in the first all black
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cast of a major Broadway musical, Hello Dolly. And of
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course if I Love to singa sounds familiar, it's because
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it was used in a Merry Melody's cartoon feature. Also
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that cartoon coming out the same year the song did
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nineteen thirty six. Another tune for your listening enjoyment. Then
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we'll go to a listener's email in.
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The distant.
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Seven agree an excreting statement.
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The st.
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Recorded in New York City, September the twenty fifth, nineteen
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thirty four. For dec Of Records. That was Fletcher Henderson
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and his orchestra with Hotter than Elle spelt elll here
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on the one the only the original Make Believe Ballroom,
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America's third longest running musical radio program, and folks to
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reach me Jeff at Make Believe Ballroom Radio dot com.
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That's Jeff at make Believe Ballroomradio dot com. And an
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email that did reach me came from Harry Easton of
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Northeast Philadelphia, and Harry writes, I am a fan of
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old time radio and appreciate you carrying on the Make
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Believe Ballroom, which I consider to have roots in old
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time radio. Indeed it does. I don't know if your
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listeners would have any interest in my question, but perhaps
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you do. Can you tell me anything you know about
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the feud between Von de Leith and Kate Smith. Sorry
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for the optuse question, and that's signed by Harry.
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Well.
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Thanks Harry. I find your question not to be either
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dull or obtruse, as you say, as the story is
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interesting more reasons than one, both of which I shall cover.
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So.
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Von de Leath, the vocalist, was a true pioneer of
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early radio back in the nineteen twenties, so much so
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that with her large fan base, she Vaughon de Leith
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decided to call herself the first Lady of Radio. She
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was one of the first female singers to broadcast successfully
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and certainly earn that title. Now the iconic Kate Smith.
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God bless America when the moon comes over the mountain
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at all, the beloved Kate Smith began to rise to
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a massive popularity. I guess it was in the early thirties,
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and the Kate also began billing herself with the same title,
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the First Lady of ra.
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Now.
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I don't know if Kate Smith ever met Von de Leith,
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if there was any personal animosity or other stuff going
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on between the two, but in nineteen thirty one, Von
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de Leith sued Kate Smith in a legal battle over
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the use of the title First Lady of Radio. In
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the end, the Leath won the lawsuit, forcing Kate Smith
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to stop using the title for a period of time.
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But you know, unfortunately for Vaughn, her fight against the
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much more popular Kate Smith left Vaughn's career fading despite
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her legal victory, which was probably a poor tact and
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made her look very petty to both her fans and
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Kate Smith's fans. Well, Kate Smith ultimately resumed using the
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First Lady of Radio title after Ravon d Lethe passed
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away in nineteen forty three. Why don't we take a
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moment to listen to a record by Kate Smith.
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Music not a dangerous revalve.
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It's something daring, mom all the way of dancing that's
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really open, very double love because it does what you
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wanted to do.
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It has a passions, the coon an invitation.
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To It's like the passion.
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Because you tell him your love while you dance.
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You'll absolute.
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Hurry long.
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Not anybody dween.
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And you were saying, just what you thinking of people dancing?
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It's the song of romans.
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And why are you dancing?
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It's not a memo.
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It's not a metal.
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You see why are you dancing?
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Your boy yell.
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And said the medal.
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You'll all be more dan if you're in love. God
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long with you. One nothing rhythm hard Beaudu dandran.
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From Brunswick Records. The Continental by Kate Smith and the
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Ambassador's Trio accompanied by her Swannye music recorded in New
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York City, October the thirty first, nineteen thirty four. Now
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on to Von the Leath. The soprano uh Vaughn considered
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herself to be an early crooner. Now the song by
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of Von de Leith, I Want to Play was recorded
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in nineteen twenty seven, but is still heard today and
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as the story goes, in April of nineteen sixty, after
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Elvis Presley's two year service in the United States Army,
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he recorded a song at the suggestion of his manager,
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Colonel Tom Parker. That song that he recorded was Parker's wife,
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Marie Mott's favorite song. Its release was delayed by RCA
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Victor executives who thought the song didn't fit Presley's new
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rock and roll style. Yet, when the song was released
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in November of nineteen sixty, it was an immediate success
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in the United States, topping Billboard's Pop Singles chart. One
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of the most well received early versions of the song
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was actually recorded by Von de Leith. I think it
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was the second record made of the song. Let's listen
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now to von de Leath and what her possible connection
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could be to Elvis Presley.
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Nighti'm down haarged for though we have haged, I love
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you and I always wave And while I'm so lonely,
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I'm writing youly if you care for me?
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Are you long time to night?
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Do you miss me tonight?
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Are you sorry we hit a poll?
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Does your memory stray to a ride?
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Arm day?
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When I kiss you can fall?
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You fall.
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To the chairs in.
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Your apoll seam empty and the bear. Do you gaze
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that you're a dark step hand?
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Pickture me? There is your heart with pain?
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Shall I come I again?
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Tell me?
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Are you Lord?
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So to night?
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I hold with affection upon the recollection a romance of
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days now gone by, and often I want the ref
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made of blunder by.
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Letting you bed me oo?
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Are you long.
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Tonight?
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Do you miss me tonight? Are you sorry?
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We do reacted? A?
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Does your memory space back to that bright summer day
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when I get you and pull you to me, to
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the chair, and your father seems empty and bare?
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So you gaze at your door staff plan the picture
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of me.
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Is your heart.
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With pain?
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Shall I come back again?
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Tell me.
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All you long?
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Issued on Edison record Are You Lonesome Tonight? By Von
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de Leith, Bill Regis at the Piano, Recorded in New
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York City, June thirteenth, nineteen twenty seven. So thanks Harry
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Easton for your email. Your question was not obtuse, because
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I certainly enjoyed telling our audience about the controversy between
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von de Leith and Kate Smith, playing some music by both,
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and telling the story of one of both, Elvis Presley's
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and von de Leitz's most popular recordings, albeit over thirty
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years between the two.
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And something backs Scream and black Man Repent Me Through
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This t.
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Recorded to New York on March seventeenth, nineteen thirty six
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for Decca Records. Adrian Rollini and his orchestra tap Room
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Swing and the tap Room certainly near and dear to
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Adrian Rolini. During the mid nineteen thirties era, the famous
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Adrian's tap Room was located inside the Hotel President on
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West forty eighth Street in New York City, and that
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a facility. That tap room was managed and led by
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the great sax player well multiple instrument player, Adrian Rollini,
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and the tap Room served as a popular venue for
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small swing bands and jazz sessions. Why don't listen to
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one more from Adrian Rollini and the tap Room Gang.
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If Honey been jealousy, want to see you out with me?
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Don't blame them good, that's no honey, Suckle rolls friend
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takes it from the desert seeing the Honey baby ballad. No,
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don't blame them good, that's no. Maybe Suckle, don't you
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have a bar grade of sugar? You don't have to
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touch my car. Don't you don't not suit my super
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And it's so sweet, Mama wing the story we the
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past by clous you beside don't know.
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The reason my head blames them good.
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That's no, maybe, honey.
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Adrian and his tap Room Gang, which consisted of a
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winging own the trumpet, Joe Marsala, clarinet, Nalto Sacks, Adrian
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Rolini BASAs and the vibes Putney Dandridge playing the box
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and also providing the vocal Carmen Masting the guitar, Sidweiss,
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string bass, Sam Weiss, the drums. Recorded in New York
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City for Victor Records, June the fourteenth, nineteen thirty five.
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Of course, that was Honeysuckle Rose and friends. Thanks so
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much for joining me today on the weekly edition of
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the Make Believe Ballroom. And now another email for you
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to hear, this one from a listener across the pond
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who hears the program on UK nineteen forties radio. No name,
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just an email that starts with Daisy fifty three, and
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I would assume Daisy is a woman or perhaps a florist.
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No need to speculate, though, it's the content that matters
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and Daisy writes, I have listened to your wonderful program
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for several years on UK nineteen forties radio. There were
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many brilliant Jewish bandleaders who came from London's East End. Ambrose, Giraldo,
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the Phillips Brothers, Harry Roy, lou Stone, Joe Loss and
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so many more. Can you play some of their records? Well,
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of course I can for you, Daisy. Why don't we
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start with Ambrose.
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Who've been col Jameson writings Guy today? They must have
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known just how I like it, cause everything's coming my way?
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Who's been teaching all the birds how to sing around
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the lady. They must have known just.
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How I like it, cause everything's coming my way.
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Yesterday everything look Danny, how when I met someone and
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a look at it now? Who's been polishing some rubbing
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out the clouds of gray. They must have known just
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how I like it, cause everything's coming my way.
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Ambrose and his orchestra, who's been polishing the sun featuring
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the Rhythm Sisters, recorded in London on October the twenty fifth,
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nineteen thirty four, for British Deca Records, as we pay
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tribute to Jewish banned leaders from London's East End. Let's
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listen now to Harry Roy.
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Hello, folks, here we are again all Roy and is
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tiger ragged ragged tiger who something like that?
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We're gonna play to you Medley a personal once.
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The What are we gonna play?
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There will always be a lamp in the window.
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I wondering, boy, Yeah, man, I.
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Think we're playing.
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Oh Glen, when you're done, you're reskill you? Who I
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shall have be lead when you're down?
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Gisty mommy?
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Anyway, that's Killey Way media really well.
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How to chat?
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Let you chat, dit you chat, Let you chat?
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Recorded on Parlophone Records, February the fifth, nineteenth thirty four.
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Harry Roy and his tiger Ragamuffins playing Farewell Blues You Rascal,
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you and Muddy Waters. And now let's spend another East
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End musical master.
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Can't you hear me?
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Call him? While your tears are folling where the river
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Volga flows, though your heart is filled with pain, my
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lovely Russia role. Now the skies are overcast, but we'll
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find peace at last and live in sweet reports. Then
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your tears this won't be in vain, my lovely Russian role.
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Soon the day will come.
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When you went on, we'll both be free to live.
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To live alove a love for I will come and
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find you, break the change that finds you. When the
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bugs peep through the snows, you will surely bloom again.
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My lovely Russian role.
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That was the beautiful Russian Rose Joe Loss and his
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Orchestra with a vocal by Sam Brown, recorded on Regal Xonophone,
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August the seventh, nineteen forty one. And now for you, Daisy,
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let's play a piece I love from low Stone. Yeah,
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Lou Stone and his band that the Cafe yang Lace
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in London, recorded November the third, nineteen thirty three for
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Decca Records, white Jazz, and how can we just play
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white jazz Daisy, when the color blue was also in
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Stone's repertoire.
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There yeah, or he's the name.
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Anything Anything.
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Bluestone in his band at the Cafe yng Lace in
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London with not white but Blue Jazz, also recorded via
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Decca on November third, nineteen thirty three. And I thank you,
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Daisy for your email and the chance to play three
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British band leaders with roots to London's East End and folks,
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we are out of time. Thanks so much for joining
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me today to reach me Jeff at make Believe Ballroom
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Radio dot com. That's Jeff at make Believe Ballroom Radio
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dot com. For past shows or recorded requests, Make Believe
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00:57:27.400 --> 00:57:31.639
ballroom dot com. Let's MakeBelieve ballroom dot com. Thanks to
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00:57:31.760 --> 00:57:35.800
our syndicators, Public Radio Exchange PRX, the Pacific Network in
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00:57:35.880 --> 00:57:40.719
Global Community Radio program's flagship affiliates Jazz ninety point one
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00:57:40.920 --> 00:57:45.000
WGMC in Rochester, New York. Ballroom's also heard on your
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00:57:45.079 --> 00:57:48.440
favorite podcast providers. So until next week, this has been
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Jeff Presler
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It's make Believe ballroom time. Put all your cares away.
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All the bands are here to bring good cheer your way.
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It's make Belief ballroom time and free to everyone. It's
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no time to friend your Dalis said Bamba.
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Yours.
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Close your eyes and visualize in your solitude. Your favorite
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bands are on this dance and mister Miller, what you're
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in the mood. It's make Believe ballroom time. We are
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a sweet romance.
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Is make live.
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Come on, Jim, Last Dance.
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Last, Hello World. I'm Jeff Pressler, turning on the lights
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of the Make Believe Ballroom and welcoming you into my
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crystal studio for another program of classic big band music
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from the nineteen thirties and forties. Please get ready as
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I play for you some amazing jazz, swing, blues and
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boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom,
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broadcasting almost continuously since nineteen thirty five, and to welcome. Welcome,
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Welcome one and all, and thanks for joining me today.
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Let's start this week's musical journey at Caxton Hall in London,
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the old historic Marriage Registry Office.
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Now, how about one of your inimitable renditions.
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Okay, Jimmy, we'll do one which features Buddy Rich on drums,
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and it's called Caxton Hall Swings.
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Come Pa.
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That was Harry James and Buddy Rich with their version
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of Caxton Hall Swing from a radio program back in
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nineteen fifty three. And why was the song named Caxton
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Hall Swing? Well, it was composed and penned by the
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great drummer Louis Belson. Belson, if not, if I'm not mistaken,
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was the pioneer, the first one to use two bass drums.
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Belson was married for decades to the vocalist and actress
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Pearl Bally, and they got married at the Caxton Hall Registry,
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and Belson composed the Caxton Hall Swing in honor of
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that occasion. And now in honor of Louis Belson. Louis
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and Tommy Dorsey and his orchestra.
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Dit s I any s s s S S says.
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Hums Louis Belson with Tommy Dorsey and his Orchestra, recorded
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March the eleventh, nineteen forty nine Drumology from RCA victor
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of forty five RPM record. Now why don't I go
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to missus Belson? The late great Pearly.
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May no one nor why walkin ronin one lo there
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lowe that I'm not on suso for this reading life
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of love?
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No one, no.
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Whycle my, I'm a life that ride on good stream.
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He ron my riding high or no he.
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Borrowway from the usual draw.
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With the world of mind.
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Have my be.
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All bec.
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Ever list.
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You have placed.
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That be me?
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Ever dreams in my wildest dream that.
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I'd fall.
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Wife so on holidays. No, I don't love all that
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is cracked up to be love all black up to be.
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Pearl Bailey along with Coody Williams and his orchestra now
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I know, recorded on the Budget Hit label back in
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nineteen forty four. I'm Jeff Presler and you're listening to
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the weekly edition of the Make Believe Ballroom. Thanks for
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joining me in the Crystal studio today and listening to
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Pearl Bailey certainly brings back memories of one My beloved
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mother used to take me on theater excursions to Broadway,
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and one of my favorite shows was the all black
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cast revival of Hello Dolly that starred Pearl Bally, which
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was on Broadway. I guess I was in high school.
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It was probably around nineteen sixty seven or sixty eight
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and Pearl. In Hello Dolly played Dolly Gallagher, a role
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that was originally made famous by Carol Channing, another Broadway legend.
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Now Another fellow in that cast was the gentleman who
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played Horace van der Geller, a gentleman I really didn't
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know that much about at the time, but who eventually
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became one of my favorites of all time. And here
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he is.
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I love the thing. I'm out of moon oran a tune,
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Rana springer. I love to singer. I'm out a sky
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of blue and a teeth worn tua any single with
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the swinger rummer.
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I love you all.
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To say, gonna give.
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Me your sma.
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I'm out a sane gun that went and done a WRONGA,
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but keep it cleaner. My acada is smaller with the
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water balla and the saba trama to what blue birds
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call her. I was born a singing pulla Landida, Oh
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major boat is gonna spot me? Got through year with
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pulah Bullah, Landida Oh, microphones got me.
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I love to singer.
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I love the wingle with the tamba in my MoMA
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and wave a flagger with a cheer for Uncle Sammy
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and another form of Mammy. Un Swinging is im singing,
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is bell ringing, is long sing.
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It is Tut tut.
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On Brunswick Records. I Love to SINGA by Cab Callaway
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and his Orchestra Vocal by Cab recorded in Los Angeles, California,
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January the twenty seventh, nineteen thirty six, and Cab did
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indeed star alongside Pearl Balley in the first all black
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cast of a major Broadway musical, Hello Dolly. And of
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course if I Love to singa sounds familiar, it's because
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it was used in a Merry Melody's cartoon feature. Also
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that cartoon coming out the same year the song did
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nineteen thirty six. Another tune for your listening enjoyment. Then
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we'll go to a listener's email in.
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The distant.
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Seven agree an excreting statement.
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The st.
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Recorded in New York City, September the twenty fifth, nineteen
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thirty four. For dec Of Records. That was Fletcher Henderson
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and his orchestra with Hotter than Elle spelt elll here
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on the one the only the original Make Believe Ballroom,
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America's third longest running musical radio program, and folks to
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reach me Jeff at Make Believe Ballroom Radio dot com.
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That's Jeff at make Believe Ballroomradio dot com. And an
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email that did reach me came from Harry Easton of
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Northeast Philadelphia, and Harry writes, I am a fan of
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old time radio and appreciate you carrying on the Make
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Believe Ballroom, which I consider to have roots in old
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time radio. Indeed it does. I don't know if your
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listeners would have any interest in my question, but perhaps
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you do. Can you tell me anything you know about
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the feud between Von de Leith and Kate Smith. Sorry
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for the optuse question, and that's signed by Harry.
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Well.
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Thanks Harry. I find your question not to be either
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dull or obtruse, as you say, as the story is
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interesting more reasons than one, both of which I shall cover.
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So.
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Von de Leath, the vocalist, was a true pioneer of
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early radio back in the nineteen twenties, so much so
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that with her large fan base, she Vaughon de Leith
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decided to call herself the first Lady of Radio. She
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was one of the first female singers to broadcast successfully
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and certainly earn that title. Now the iconic Kate Smith.
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God bless America when the moon comes over the mountain
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at all, the beloved Kate Smith began to rise to
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a massive popularity. I guess it was in the early thirties,
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and the Kate also began billing herself with the same title,
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the First Lady of ra.
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Now.
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I don't know if Kate Smith ever met Von de Leith,
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if there was any personal animosity or other stuff going
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on between the two, but in nineteen thirty one, Von
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de Leith sued Kate Smith in a legal battle over
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the use of the title First Lady of Radio. In
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the end, the Leath won the lawsuit, forcing Kate Smith
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to stop using the title for a period of time.
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But you know, unfortunately for Vaughn, her fight against the
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much more popular Kate Smith left Vaughn's career fading despite
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her legal victory, which was probably a poor tact and
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made her look very petty to both her fans and
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Kate Smith's fans. Well, Kate Smith ultimately resumed using the
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First Lady of Radio title after Ravon d Lethe passed
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away in nineteen forty three. Why don't we take a
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moment to listen to a record by Kate Smith.
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Music not a dangerous revalve.
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It's something daring, mom all the way of dancing that's
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really open, very double love because it does what you
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wanted to do.
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It has a passions, the coon an invitation.
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To It's like the passion.
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Because you tell him your love while you dance.
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You'll absolute.
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Hurry long.
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Not anybody dween.
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And you were saying, just what you thinking of people dancing?
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It's the song of romans.
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And why are you dancing?
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It's not a memo.
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It's not a metal.
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You see why are you dancing?
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Your boy yell.
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And said the medal.
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You'll all be more dan if you're in love. God
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long with you. One nothing rhythm hard Beaudu dandran.
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From Brunswick Records. The Continental by Kate Smith and the
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Ambassador's Trio accompanied by her Swannye music recorded in New
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York City, October the thirty first, nineteen thirty four. Now
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on to Von the Leath. The soprano uh Vaughn considered
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herself to be an early crooner. Now the song by
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of Von de Leith, I Want to Play was recorded
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in nineteen twenty seven, but is still heard today and
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as the story goes, in April of nineteen sixty, after
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Elvis Presley's two year service in the United States Army,
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he recorded a song at the suggestion of his manager,
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Colonel Tom Parker. That song that he recorded was Parker's wife,
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Marie Mott's favorite song. Its release was delayed by RCA
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Victor executives who thought the song didn't fit Presley's new
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rock and roll style. Yet, when the song was released
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in November of nineteen sixty, it was an immediate success
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in the United States, topping Billboard's Pop Singles chart. One
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of the most well received early versions of the song
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was actually recorded by Von de Leith. I think it
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was the second record made of the song. Let's listen
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now to von de Leath and what her possible connection
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could be to Elvis Presley.
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Nighti'm down haarged for though we have haged, I love
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you and I always wave And while I'm so lonely,
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I'm writing youly if you care for me?
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Are you long time to night?
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Do you miss me tonight?
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Are you sorry we hit a poll?
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Does your memory stray to a ride?
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Arm day?
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When I kiss you can fall?
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You fall.
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To the chairs in.
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Your apoll seam empty and the bear. Do you gaze
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that you're a dark step hand?
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Pickture me? There is your heart with pain?
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Shall I come I again?
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Tell me?
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Are you Lord?
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So to night?
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I hold with affection upon the recollection a romance of
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days now gone by, and often I want the ref
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made of blunder by.
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Letting you bed me oo?
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Are you long.
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Tonight?
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Do you miss me tonight? Are you sorry?
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We do reacted? A?
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Does your memory space back to that bright summer day
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when I get you and pull you to me, to
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the chair, and your father seems empty and bare?
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So you gaze at your door staff plan the picture
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of me.
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Is your heart.
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With pain?
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Shall I come back again?
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Tell me.
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All you long?
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Issued on Edison record Are You Lonesome Tonight? By Von
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de Leith, Bill Regis at the Piano, Recorded in New
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York City, June thirteenth, nineteen twenty seven. So thanks Harry
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Easton for your email. Your question was not obtuse, because
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I certainly enjoyed telling our audience about the controversy between
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von de Leith and Kate Smith, playing some music by both,
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and telling the story of one of both, Elvis Presley's
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and von de Leitz's most popular recordings, albeit over thirty
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years between the two.
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And something backs Scream and black Man Repent Me Through
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This t.
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Recorded to New York on March seventeenth, nineteen thirty six
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for Decca Records. Adrian Rollini and his orchestra tap Room
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Swing and the tap Room certainly near and dear to
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Adrian Rolini. During the mid nineteen thirties era, the famous
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Adrian's tap Room was located inside the Hotel President on
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West forty eighth Street in New York City, and that
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a facility. That tap room was managed and led by
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the great sax player well multiple instrument player, Adrian Rollini,
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and the tap Room served as a popular venue for
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small swing bands and jazz sessions. Why don't listen to
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one more from Adrian Rollini and the tap Room Gang.
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If Honey been jealousy, want to see you out with me?
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Don't blame them good, that's no honey, Suckle rolls friend
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takes it from the desert seeing the Honey baby ballad. No,
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don't blame them good, that's no. Maybe Suckle, don't you
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have a bar grade of sugar? You don't have to
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touch my car. Don't you don't not suit my super
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And it's so sweet, Mama wing the story we the
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past by clous you beside don't know.
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The reason my head blames them good.
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That's no, maybe, honey.
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Adrian and his tap Room Gang, which consisted of a
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winging own the trumpet, Joe Marsala, clarinet, Nalto Sacks, Adrian
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Rolini BASAs and the vibes Putney Dandridge playing the box
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and also providing the vocal Carmen Masting the guitar, Sidweiss,
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string bass, Sam Weiss, the drums. Recorded in New York
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City for Victor Records, June the fourteenth, nineteen thirty five.
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Of course, that was Honeysuckle Rose and friends. Thanks so
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much for joining me today on the weekly edition of
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the Make Believe Ballroom. And now another email for you
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to hear, this one from a listener across the pond
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who hears the program on UK nineteen forties radio. No name,
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just an email that starts with Daisy fifty three, and
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I would assume Daisy is a woman or perhaps a florist.
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No need to speculate, though, it's the content that matters
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and Daisy writes, I have listened to your wonderful program
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for several years on UK nineteen forties radio. There were
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many brilliant Jewish bandleaders who came from London's East End. Ambrose, Giraldo,
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the Phillips Brothers, Harry Roy, lou Stone, Joe Loss and
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so many more. Can you play some of their records? Well,
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of course I can for you, Daisy. Why don't we
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start with Ambrose.
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Who've been col Jameson writings Guy today? They must have
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known just how I like it, cause everything's coming my way?
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Who's been teaching all the birds how to sing around
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the lady. They must have known just.
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How I like it, cause everything's coming my way.
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Yesterday everything look Danny, how when I met someone and
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00:41:20.159 --> 00:41:25.360
a look at it now? Who's been polishing some rubbing
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out the clouds of gray. They must have known just
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how I like it, cause everything's coming my way.
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Ambrose and his orchestra, who's been polishing the sun featuring
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the Rhythm Sisters, recorded in London on October the twenty fifth,
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nineteen thirty four, for British Deca Records, as we pay
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tribute to Jewish banned leaders from London's East End. Let's
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listen now to Harry Roy.
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Hello, folks, here we are again all Roy and is
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tiger ragged ragged tiger who something like that?
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We're gonna play to you Medley a personal once.
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The What are we gonna play?
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There will always be a lamp in the window.
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I wondering, boy, Yeah, man, I.
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Think we're playing.
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Oh Glen, when you're done, you're reskill you? Who I
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shall have be lead when you're down?
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Gisty mommy?
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Anyway, that's Killey Way media really well.
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How to chat?
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Let you chat, dit you chat, Let you chat?
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Recorded on Parlophone Records, February the fifth, nineteenth thirty four.
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Harry Roy and his tiger Ragamuffins playing Farewell Blues You Rascal,
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you and Muddy Waters. And now let's spend another East
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End musical master.
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Can't you hear me?
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Call him? While your tears are folling where the river
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00:48:40.840 --> 00:48:45.960
Volga flows, though your heart is filled with pain, my
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lovely Russia role. Now the skies are overcast, but we'll
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find peace at last and live in sweet reports. Then
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your tears this won't be in vain, my lovely Russian role.
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Soon the day will come.
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When you went on, we'll both be free to live.
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To live alove a love for I will come and
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find you, break the change that finds you. When the
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bugs peep through the snows, you will surely bloom again.
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My lovely Russian role.
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That was the beautiful Russian Rose Joe Loss and his
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Orchestra with a vocal by Sam Brown, recorded on Regal Xonophone,
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August the seventh, nineteen forty one. And now for you, Daisy,
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let's play a piece I love from low Stone. Yeah,
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Lou Stone and his band that the Cafe yang Lace
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in London, recorded November the third, nineteen thirty three for
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Decca Records, white Jazz, and how can we just play
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white jazz Daisy, when the color blue was also in
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Stone's repertoire.
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There yeah, or he's the name.
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Anything Anything.
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Bluestone in his band at the Cafe yng Lace in
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London with not white but Blue Jazz, also recorded via
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Decca on November third, nineteen thirty three. And I thank you,
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Daisy for your email and the chance to play three
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British band leaders with roots to London's East End and folks,
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we are out of time. Thanks so much for joining
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me today to reach me Jeff at make Believe Ballroom
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Radio dot com. That's Jeff at make Believe Ballroom Radio
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00:57:22.800 --> 00:57:27.199
dot com. For past shows or recorded requests, Make Believe
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00:57:27.400 --> 00:57:31.639
ballroom dot com. Let's MakeBelieve ballroom dot com. Thanks to
351
00:57:31.760 --> 00:57:35.800
our syndicators, Public Radio Exchange PRX, the Pacific Network in
352
00:57:35.880 --> 00:57:40.719
Global Community Radio program's flagship affiliates Jazz ninety point one
353
00:57:40.920 --> 00:57:45.000
WGMC in Rochester, New York. Ballroom's also heard on your
354
00:57:45.079 --> 00:57:48.440
favorite podcast providers. So until next week, this has been
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00:57:48.920 --> 00:57:49.760
Jeff Presler
