Aug. 8, 2025
Make Believe Ballroom - 8/8/25 Edition
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This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - a one hit wonder, a lightly played Benny Goodman tune, how Marilyn helped Ella, listners emails, Lenny from Down the Block with his Record Pick of the Week and many more great songs and stories to cherish and enjoy on this week's program.
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It's make Believe ballroom time. Put all your cares away.
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All the bands are here to bring.
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Good cheer your way.
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It's make Believe ball time and free to everyone.
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It's no time to friend your Dalis said.
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Bombs, close your eyes and vis you lie in your solitude.
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Your favorite bands are on the stands and mister Miller,
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but you're in the wood. Its make Believe ballom time.
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We are a sweet romance is to make bottom. Come on,
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Joe the Last das last.
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Hello World, I'm Jeff Bresler, turning on the lights of
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the Make Believe Ballroom and welcoming you into my Crystal
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studio for another program of classic big band hits from
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the nineteen thirties and nineteen forties. Get ready as I
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play for you some amazing big band jazz, swing, blues,
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and boogie woogie favorites. Folks, you're listening to the Make
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Believe Ballroom, broadcasting almost continuously since nineteen thirty five. Hi friends,
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thanks for joining me in the Crystal Studio today and
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here in the studio. While not live in the studio,
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but via a seventy eight RPM disc, we say hello
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to Freddy Slack and Ella May Morse.
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Movement movement from movement.
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I say, cheeks like a chair and fine, big twinkle
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in his eye.
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He's got a grain you can strive.
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So I refer to old robb Roy eight if he's
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a day, But does he act that way?
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You think that he was still awhike.
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He has a big nag, old robbery.
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He's up where the earliest line. It's his business starn
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as his neighbor says.
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Par kids.
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He's got as a.
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Pile of glass.
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He's everybody's daddy.
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It climbs the glad.
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You're joined jodge.
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Mister, Oh rob Roy, Oh Rob Roy, what a boy?
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We just heard Old rob Roy Freddie Slack and his
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Orchestra vocal by Elame Morse, recorded on the then fledgling
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Capitol Record label in nineteen forty three. Now Elame Morse,
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at the young age of just seventeen, recorded a huge hit.
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It was her and Freddy Slack's first record for Columbia,
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recorded a year before Old Rob Roy. But unfortunately Ella
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May's success with the record you're about to hear well,
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it was also her downfall. I'll explain after I spind
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the desk.
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On the Please down your satin I'm in a coby
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right in the rage. One day, Asy John law I
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heard him singing a more peculiar cowboys song. It was
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a ditty you learn in the city, or Comma die
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gonna dip li get along, get hip little dogs, get along,
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better be on your way, get along, get half little
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dog hees. He drucked them on down the old fair way,
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singing his cock cab. We'll get in the strangest way,
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gonna die coma diap, singing his cowboy song. He's just
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too much. He gotta knock out Western accents for.
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A wallong search.
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He was raised doing lope weed. He's what you call
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swing half breeds. Hang in it, got gap, We'll get
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in the streets way, Goma die gomma die I.
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Get along, loggie, better be on you wing you wave,
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Get along, little log And.
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He dropped him on down the old fair way, singing
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his cock cap booge in the strange just way, Comma
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die comma die ye.
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Yip PieP singing his cowboys songs Yep Pip as he
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was juggling along Yeppy, sing.
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With the whole up that Yep Pip.
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The cat is just too much for singing his cock
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Up Bogi, The Strangest Way, Comma.
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Tie Cow Cow Boogie, Freddy Slack and his orchestra Ellame
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Morris vocal we courted on the Capitol label in nineteen
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forty two, now Elmy at fifteen years old. Going back
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a few more years, light about her age to get
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a job with Jimmy Dorsey in nineteen thirty eight. Now
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el May, it has said, was a headache, a big
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headache for Jimmy. She was immature, not very well prepared,
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and extremely flighty. A lot of the band members remarked
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that Elmy would disappear and be hard to find at times.
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So in nineteen thirty nine, Jimmy replaced Elma with the
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great Helen O'Connell, which was a great move for Jimmy Dorsey.
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But Elm did the resurface again in nineteen forty two
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when former Dorsey pianist Freddie Slack, who we just heard,
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hired her to sing with his new Aucust. It was
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with Freddy that Morse had her biggest hit, Cow Cow Boogie,
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which I just played, which became a Capitol Record's first
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gold single. Just as an aside, if you recall a
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few weeks back, we discussed how Chattanooga Chuchu was given
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the first quote unquote gold record by RCA Victor. At
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the time, gold records were more of a vanity scheme
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by record company pr shops to signify that a record
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hit a million sold. But nevertheless, the record was such
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a huge, big hit and Morse such a sensation that
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she quickly eclipsed the whole Slack Orchestra in popularity, and
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Freddy's name was rarely mentioned without Lamy being in the
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same sentence. And I guess part of the reason for
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the song's popularity actually relied on it being released at
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the beginning of the American Federation of Musicians, their devastating
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record band, which began in August of nineteen forty two,
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and as a result of that, no other label could
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follow up with their own version of the tune, and
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that pretty much left Capital to reap the bonanza when
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the public went crazy for it. The success of the
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song did turn Capital into a major recording label, but
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unfortunately for Ella May, she became forever identified with the
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song that made her famous, often being billed as the
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quote unquote cow Cow boogeye girl. While she still had
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a following She was pretty much deemed a one hit wonder,
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and she left the business in the late nineteen forties,
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although she did have a few comebacks over the years
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to follow. So little friends about Ella May Morse. Oh,
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before I forget, I just wanted to mention that to
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Ella May Morse, as I said, was quite undisciplined, flighty
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and often would disappear. And I'm sure Freddy knew that
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from working with Jimmy Dorsey. So it said that when
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she went into the studio to record Cow Cow Boogie,
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Freddie quickly started to play with the orchestra to keep
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his fingers crossed and hope everything would go well well.
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Ella May thought this was only a rehearsal because of
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the quick way Freddy started things up, and she recorded
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this song in only one take. So a little extra
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tidbit on Ella May Morse, and now another tune, then
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a listener's email.
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File.
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I doubled their you you sit over here. I doubled
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their you to let me your ears, take off your
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high hatch, handless yet friendly, don't be a scare cat,
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say what your care cats take us there. I doubled
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their youth to kiss me and them I doubled their
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use to kiss me again and left that look in
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your eyes means what I'm thinking of.
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I doubled their.
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Use to fall in love with me.
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I troubled their you.
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On Victor Records, we just heard I doubled Dare You
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by Larry Clinton and his orchestra vocal by Bronx born
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b Wayne, recorded in New York City, December seventeenth, nineteen
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thirty seven. And I mentioned before that fine recording that
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I would read an email that I received over the
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past week, and this one is from Adam cremeetz k
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r I ms tsos. I think I can have to
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let out an sos to Adam to make sure I'm
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pronouncing his name correctly. I hope it is pronounced Cremeetzos.
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And Adam says he is out of Atlanta, Georgia. He writes,
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Jeff thoroughly enjoy the music of the Make Believe Ballroom
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each week. I liked over the last few shows the
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Glenn Miller rarely played records you spun. Benny Goodman recorded
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a song called camel Hop that I like. Can you
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play that and count it as a rarely heard Goodman song?
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And that is signed by Adam, and I could say
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to you, Adam, I'll hump that record for you, The
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camel Hop on its way Many Goodman and his orchestra
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camil Hop, recorded on the Victor label in New York
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City November the twelfth, nineteen thirty seven. And thanks Adam.
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That was a great Goodman song and indeed a lightly
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played Goodman tune. And Adam, that was an interesting name
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for a song, camel Hop. And perhaps you have wondered
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how that name came about. Was John Hammond. John Hammond,
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Benny Goodman's brother in law and the great jazz and
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swing impresario who suggested to Mary Lou Williams that she
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composed some music for Benny Goodman. In nineteen thirty seven,
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Benny had a radio show broadcast on Saturday nights that
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was called The Camel Caravan. That show was sponsored by
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Camel Cigarettes. So Mary Lou wrote this arrangement of camel
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Hoop that we just heard for him to use as
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a theme song on that radio program. The arrangement was
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recorded several times on the radio and also in live
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performances during nineteen thirty seven. And again, thanks Adam for
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getting in touch with us. I'm Jeff at Makebully Ballroomradio
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dot com. That's Jeff at Makebelie Ballroomradio dot com if
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you would like to contact me. I just mentioned Mary
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Lou Williams. Mary Lou she was an enormous talent that
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encompassed playing the jazz piano, arranging and composing. She wrote
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hundreds of compositions and arrangements and recorded more than a
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hundred records. So let me play one now by Mary
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Lou Williams, the.
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Quickly set at Christ Christmas, Christmas and the Christ Christmas,
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the Best Christ.
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And the.
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Mary Lou Williams on piano accompanied by bass and drums.
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The name of the song was clean Pickin, recorded on
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Decca Records in New York City on March the eleventh,
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nineteen thirty six, and it featured Booker Collins on the
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bass and Ben Thigpen playing the drums. Let's play another record,
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then I will talk to you about how a glamorous
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sex symbol an actress made her mark on the world
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of jazz.
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When the cuckoo in the clock goes.
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Cellimation, its a cuckoo and I'm a little cuckoo.
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In fact, we all slightly not that they were that
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the word.
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He was baby talking her heading.
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The cuckoo in the clock went cuckoo.
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Every fifteen minutes, he crew cuckoo, cuckoo, cuckoo, be a
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a p sent the fella to the gall and the
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cuckoo in the clock went cuckoo.
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I believe they're starting to.
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Woo woo, woo woooo. They didn't know that everything they
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said was overheard.
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They didn't hear the little verdict giving him the burden.
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So he said, with a sigh, who's your little peachy pie?
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And the cuckoo in the clock went cuckoo.
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Then he said, I.
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May be cuckoo, but not as cuckoo as you.
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So he closed the door and withdrew cuckoo, cuckoo, cuckoo.
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Listen to the cuckoo on the wall, cuckoo, cuckoo, cuckoo.
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Love us, grand love us, Grant Donald, Let me hold
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your hand, Bob.
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The cuckoo in the clock says, who me you too? Hey?
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Take this.
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From Brunswick Records, We just heard Cuckoo in the Clock
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by Kay Kaiser and his Orchestra vocal by Sully Mason,
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recorded January the twenty seventh, nineteen thirty nine, and I
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said prior to Kay and Sully that I would tell
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you the story of how a glamorous sex symbol and
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actress made her mark on the world of jazz. And
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to set the stage for that story, I play for
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you this record.
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Love hearing the starlet Our. All heaven is in your eyes,
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while the winters atbbing underneath the stars, but the hearts
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are throbbing like to get tar. Love hearing the starlet
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Our night whispering Lulla fines. Let me dream forever underneath
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the silvery sky.
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Will it be.
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Just as sweet again?
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The glamor, the glory that we know, will I find when.
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We meet again?
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The glamor, the glory is still a glory. But to night,
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let us forget tomorrow he under the midnight bloom love
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with blooming flower in the Starlet Hour, with love, Love,
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Love in the hour, All love in the Starlet Hour,
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while the wind is stopping underneath the stars, but dots
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of throbbing like the struggle to get tar. Love Love
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in the hour, Oh Love in the Starlet Hour. Let
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me dream forever under you need the silvery.
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Skuies to the tool of ullabies.
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Will it be.
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