June 12, 2026
Make Believe Ballroom - 6/12/26 Edition
On this week's edition of the Make Believe Ballroom, hosted by Jeff Bressler, some songs never before played on the show, an eerie premonition relayed by a big band songstress, a female songwriting team in the 30s, and more records and reminiscences from the big band and jazz era.
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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.
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Ballroom time and free to everyone. It's no time to
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friend your Dalis.
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Said, baby.
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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's you
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in the mood?
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It's make believe ballroom time.
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We are a sweet romance is to make Believe Ballroom.
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Come on, Joe the.
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Last Dans Last, Hello world, I'm Jeff Bresler, turning on
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the lights of the Make Believe Ballroom and welcoming you
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into my Crystal studio for another program of classic big
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band music from the nineteen thirties and forties. Please get
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ready as I play for you some amazing 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, and
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to welcome, Welcome, welcome, one in all into the Crystal studio,
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and thanks so much for joining me today. You know,
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one of my favorite things to do on the ballroom
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is to play music. Music that's never been heard on
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this program, provided by bands and band leaders who weren't
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exactly household names. And you would think that after hosting
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this program for over ten years, in substituting for many
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ballroom DJs prior to that, that I would have played
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just about all there is to play. Well, obviously not,
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and I have a number of new, well relatively new
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artists to offer you today on the Make Believe ball Row.
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You Pole.
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Boeople everything they were.
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Naming on a standard transcription disc produced by the Standard
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Radio Company, I just played Freddie barn and his orchestra
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with a Well, it was a pleasant treatment of the
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popular tune at the time. I haven't changed a thing
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recorded back in nineteen thirty eight. Freddie was the CBS
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Radio music director for a good portion of the nineteen
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thirties into the nineteen forties, so most of his work
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took place in the studio on the radio, and he
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was not really that well known as a mainstream bandleader.
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Per se. Freddie barns to start things off today on
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the Make Believe Ballroom, And as I play some of
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this first time ever recordings, please understand that due to
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the nature of the band leaders, these recordings were not
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mastered as you would do with Dorsey or Goodman, Miller
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or Shaw, so a few scratches and pops here and there,
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although I have tried my best to remove most of them.
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Let's see, how did I do with this one? Trying
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to clean it up by a band leader and trumpeter
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who you might never have heard of, but was voted
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nineteen forty's number one hot trumpeter.
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Their soon, he said, lonely the rocks and ray the
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lonely too. The airs.
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He wants you only no one but.
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You ser soon.
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The rosses wee, their tears are falling. The gentle die
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no longer cool? Or can't you hear?
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Is that hort calling calling for you?
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On Varsity Records recorded in nineteen forty, Johnny McGhee and
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his orchestra with the popular tune and see Arasoue vocal
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by Betty Bradley McGhee. Johnny McGee was riding high back
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in nineteen thirty nine and forty, having his own radio
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show on NBC and being hailed as the second coming
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of Bix beider Beck, But due to the musicians strike
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the next year and some other financial factors, he sort
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of petered out after nineteen forty, but I was still
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delighted to bring to you for the first time ever
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on The Make Believe Ballroom Johnny McGee and his orchestra.
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I'm Jeff Presler, and you're listening to the weekly edition
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of The Make Believe Ballroom, And during this segment, I'm
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playing some artists never before heard on the program, including
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this wonderful blues vocalist.
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Oh my mellow man, Can nobody thrilled me like my
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mellow man?
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Can?
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He don't stand on no corners, he don't ribe and steal,
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come home to me, He stay to getting me as
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Oh my man, can nobody thrilled me like my mellow
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man can? Now he ain't a logan grinder, He's just
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nice and sweet.
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I love that.
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Man from his head down to his feet grind hole.
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Ah my mel man, Can nobody three of me like
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my mellow man?
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Can?
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My man?
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It's so mellow They call him sponge boy, but that
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ain't his name. His name is Sainley Roy. Oh my
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melow man. Can nobody thrilled me like my mellow Mankin.
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From Bluebird Records with Simeon Henry on the piano, Big
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Bill Bronzie, the guitar Ransom Noling the bass. Was Lil
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Green singing the Blues with My Mellow Man, recorded in
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nineteen forty one, the popular Lil Green blues favorite in
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the thirties and forties, who unfortunately died in the very
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early nineteen fifties, but partnered with the guitarist Bill Bronzie
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quite often during that time, playing the club circuit together.
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Happy to introduce to you, Lil Green. Let's play one
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more never heard on the Ballroom courtesy of pianist Eddie Oliver.
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Pianisteady Oliver is orchestra really dished down a nice instrumental
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swinger with off the Deep End that we just heard
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record played for the first time ever here on the
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program Eddie Oliver and his Orchestra, recorded in a standard
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radio transcription back in nineteen forty four. I'm Jeff Prestler
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in the Crystal Studio. When you're listening to the one,
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the only, the original Make Believe Ballroom broadcasting since nineteen
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thirty five, and the nation's third longest running music program
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ever on the air. Now, let's see here, let me
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look at my playlist. Well, let's go from some artists
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who we played here on the ballroom for the first
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time to a drummer that is a frequent guest.
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Ask him anything, fan.
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My Wild Irish Rose. Chick Web and his orchestra recorded
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live at the Southland Cafe in Boston, Massachusetts, on May
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the fourth, nineteen thirty nine, and unfortunately just weeks before
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the death of this legendary drummer who had a host
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of medical issues, but fortunately here still with us today
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through his music and now here on the Make Believe Ballroom. Well,
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you know, I'm thinking chick Web's broadcast from the south
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Land were a radio listening treat has heard from My
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Wild Irish Rose, and I can't leave that May fourth,
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nineteen thirty five broadcasts that easily. We have some time
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on the show today. So let's go back to the
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Southland as I multitask here talking to you and looking
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for what I need from my playlist. All right, let's
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go back to the Southland as if you were listening
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to your radio in nineteen thirty nine for a Chickweb
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Back to back.
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Chickweb, King of a dum from the South and in
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the city of Boston, we present a.
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Program of dance music played by chickweb. In this orchestra,
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I'm featuring the first Lady of Swing, Ella Fitzgerald. Chickweb
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warpings with an obvious contradiction, but a really fine.
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Tone is a real chickweb specialty. Breaking them down.
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And ever the.
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Was the awa to them.
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For he later, go birl.
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Campa, have ourcluding number, hell, I really go to come
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with queue cue.
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Your follow gun.
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To cho cho cho your bumble gum cho cho cho
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your bubble gum.
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To to to chu your bble gum j jujo baby.
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To to to chew, to ju too to your boun
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to to to chew your bblegum juj your baby.
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Birst you then you stop.
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The gum gets bigger round.
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No, your somethings were like vocals.
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When you hear that funny little sap to to to
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to you up to to to, you've a gone to
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to you've overcome to to che your bubble.
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Gum your boys you ride.
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I'm having fun chewing bone of my bubbles.
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Come bubble gum. It makes me sing.
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Here Joe up will make good.
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Stop the stuff. Don't get big around y.
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When you hear about your song, joy your.
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Jo your moot.
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Jr.
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Jo music.
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Chick Webb from the south Land Cafe back in nineteen
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thirty nine. Let me play one more than a weird
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story has relayed by a big band vocalist.
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Name A.
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D s.
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I played an extended chick Web at the Southland So
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why not the extended both A and B sides? I
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just played to Tommy Dorsey and his Orchestra's famous two
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part big band swing arrangement of the classic jazz standard
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Millenberg Joys from January the nineteenth, nineteen thirty nine for
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Victor Records. Millenberg Joys If You're Not Familiar is considered well.
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It's considered a seminole New Orleans jazz standard. It was
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originally co written by the great Jelly Roll Morton, Paul
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Maris and Leon Roppolo all the way back in nineteen
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twenty three. Dorsey's swinging iteration successfully transformed that classic Dixie
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Land tune into a high energy, seventy eight rpm big
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band classic and hit record. I'm Jeff Pressler and this
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is the Make Believe Ballroom from the Crystal Studio in
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broadcast Stink to public, university and community radio stations across
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the United States, as well as in the United Kingdom.
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So I told you before Tommy Dorsey that I was
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going to tell you a bizarre story as related by
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a big Van vocalist. Let's hear her sing first, then
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her eerie tale.
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I say, I love you really, for I am yours sincerely,
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with all my hart, with all my hart, with all
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far or wayfore your all.
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I lever came all with all my hart, And if
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I were lyricals, I would write a thought telling all
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the miracles to the day came along, and very night
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I'll tell the stars of you to stay again.
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I of you.
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With all my hart.
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From Brunswick Records. With all my Heart by Hal Kemp
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and his Orchestra vocal by Max seen Gray, recorded in
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New York City November the twenty first, nineteen thirty five,
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and that record number three hit on Your Hit Parade
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back in thirty five. So Max Seene Gray, as mentioned,
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was the primary vocalist for Hal Kemp and his orchestra,
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both in ballrooms, in records, on the radio, and in
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addition to being with Hal, she was on the very
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popular California Melodies radio program that hosted by conductor Dave Rose,
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and we played many of those broadcasts songs from those
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broadcasts here on the ballroom over the years. But she had,
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as only can be described, an eerie tale that carried
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with her throughout her life. And it happened on an
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overnight train. And as the story goes, the train was
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going at about eighty miles an hour to Chicago. The
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hell Camp band had been arousing success the night before
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at the University Saint Louis, and Maxine was very lucky
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to be the girl vocalist, earning one hundred dollars a
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week singing with a great group of musicians. The hal
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Camp Orchestra voted twice by Metronome magazine readers as the
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best suite band in America. True, there were other outfits
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capitalizing on the swing craze, but the college kids, for
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whatever reason, were partial to the sophisticated, cheek to cheek
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style of hal Kemp. So, nevertheless, Maxine had been awakened
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on that train by a persistent in her voice as
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the band slept, and as she explained it to the
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writer Walt Beauprey, granted, Walt, I'm a religious person, but
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I heard my guardian angel say, Maxine, there'll be a
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train wreck, and I kind of listened. I argue, though
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we've traveled on trains so many times. Then the voice asked,
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will you be dressed? I said I probably will be,
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because I'm always up before the rest of the guys.
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The voice then said, Maxine, you should get yourself a room.
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Met no, I thought, the boys will laugh at me
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if I get a room. Unable to shake off a
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premonition of disaster, she made her way to the ladies room,
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careful not to jostle any of these sleeping musicians. As
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she was leaving the ladies room, it happened the train
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broadsided at eighty miles an hour a truck at a crossing.
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The engine became uncoupled from the passenger cars, and the
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final coach, where the Kemp band was sleeping, whipped off
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the tracks. The engineer and the truck driver were killed instantly.
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Many others was seriously hurt, including some band members. Maxine's
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shoes remained at the door of the lady's room while
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she was thrown the length of the train car, landing
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in a heap under some seats. She had a concussion
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and remained unconscious for three days. The full extent of
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her injuries wasn't known until later in a small hospital
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