June 19, 2026
Make Believe Ballroom - 6/19/26 Edition
On this week's edition of the Make Believe Ballroom, hosted by Jeff Bressler, a listener's request for more information on a lesser-known bandleader's autograph, a famous female bandleader's hidden secret, some radio remotes, and more records and reminiscences from the big band and jazz era.
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It's make believe ballom 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 believe balling time and free to everyone. It's
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no time to friend your Dalis said bombs, close your.
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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.
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Its make believe Ballom time. We are a sweet romance
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is to make Bob come on jone last dass last.
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I'm Jeff Pressler, turning on the lights so the Make
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Believe Ballroom and welcoming you into my Crystal studio for
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another program of classic big band music from the nineteen
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thirties and forties. Please get ready, as I played for
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you some amazing jazz, swing, blues, and boogie woogie favorites. Folks,
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you're listening to the Make Believe Ballroom, broadcasting almost continuously
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since nineteen hundred and thirty five. And welcome, welcome, welcome
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one and all into the Crystal Studio, and thanks so
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much for joining me today. Also joining me is Tony Pastor.
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Good morning, Morten.
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Surely look.
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Now ashes to ashes and dust to dust.
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The ring of good man, a woman can trusts.
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Good morning now, mister z Hey my name ain't see
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it's McAfee.
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Well, good morning, mister McAfee. Is the little gossip.
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You can you Well, good morning, mister t P. Come on,
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send off the noon now listen.
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I met a sweet thing and we took a ride.
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The next day I learned she was the sigeant's bride.
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Now watch it, mister TP.
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Are they making slash tomatoes and peel and peel potatoes?
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Don't worry, bobbing mac a fiend man. Oh she comes down.
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That's what I'm talking.
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Good morning, mister McAfee.
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Have you heard the very latest news.
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And also, mister TP, here's a little you can use
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now a sergeant, I know, gives a lot of kp TP.
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Keep away from me.
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Mister.
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Completely, and I'm just sorry, mister welcome morning.
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There private move money.
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Well, it's private move as far as I can see.
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And if the barberdees will go, you got.
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To brother to me.
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From Bluebird Records, Good morning, mister Zip Zip Zip by
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Tony Pastor and his Orchestra. Vocals by Eugene Baird, Tony Pastor,
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Johnny Golf and the rest of the chorus, recorded in
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New York City, January nineteenth, nineteen forty two. A little
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load to World War two in a snappy tune to
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get us started on today's edition of the Make Believe Ballroom.
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Let Me play another one sounds a little like Bing Crosby.
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Here.
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I wonder why.
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Melancholy move Forever haunts me, steals upon me in the night.
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Forever haunts me over the lonely solemn.
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Mars, granded, high end guy bar and melancho.
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On is every.
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Joy and inspiration tears that all I have to show,
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no consolation. All I can see is grief.
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And bloom, kill, a crack of doom, old melony.
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Deep in the night, I search for a trace of
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lingering tears so warm and rast But love is a whimsy,
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as flimsy as lace and arms and rays.
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An empty space. Melancholy mood. Why must you blind me?
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Fitting me and break the chains the change that bind me?
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What you released me? Set me three? Bring her back
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to me, Old Melon, Holy.
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Moon from Decca Records. Melancholy Mood by Bob Crosby and
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His Orchestra. Vocal by Bob, recorded in New York City,
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July tenth nineteen thirty nine, and of course, the popular
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and genial Bob Crosby, the brother of Bing Crosby, have
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played several songs on the Ballroom of the Crosby Orchestra
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with Bob singing, but honestly prefer the orchestra with vocal
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lists he used like Eddie Miller and Nappy La Mayre.
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I'm going to play one now that features not only
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a Nappy La Mayre vocal, but an amazing cast of
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characters playing on this one, with Bob Crosby and his bobcats.
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Hey far far, Yes, don't call me far. I'm growing
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up now, don't you know. I'm just a regular groomy yourself.
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Don't call me far. Hey, don't call me far. I'm
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twenty two guys, I don't blue and there ain't nothing
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I can't do, so don't call me far.
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Gosh.
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I just go and flip my lead.
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Every time they call me kids.
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If they don't stop fust, just go nuts.
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And I don't mean no if nor but hey, yes,
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don't call me far.
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Can't you see I'm.
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Not so dumb. I figure they go where you come from,
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So don't.
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Sory.
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Bob Crosby's Bobcats with Don't Call Me Boy, recorded for
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Decca Records in Los Angeles, California, September tenth, nineteen forty
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and featuring the legendary Mugsy Spanner on the trumpet, Floyd
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O'Brien the trombone, Hank Demico the clarinet, Eddie Miller, Tenner Sachs,
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Just Stacey on the piano, Napi La Mayre with the
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vocal also playing the guitar, Bob Haggard on the bass,
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and the Great Ray Boudick on the drums. I'm Jeff
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Bresler and this is the weekly edition of the Make
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Believe Ballroom, the nation's third oldest continually running radio music program.
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Let's go on now to Cab calloway and then a
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listener's email.
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Save me, sister, sister, save me, Save me from a
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demidation on the lips, among the rise, among the vowels
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of the ties of other smiles and other.
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Sighs, from that devil revelry from the life of Fancy Freeze.
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Save me, sister, sister, Save me. My heart needs salvation.
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On the mitz.
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I'm gone straight, but lady, from this very day, I'll
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go the straight narrow way.
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Sister.
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If you lead me to you.
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As you screen and eyes of you don't make me feel.
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My come motherless child, a sister, last son, and and
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dozens of loverless cousin.
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Save me, sister, sister, Save me. What's my best nation.
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On the rise.
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I'm gonna shine, I'm gonna sign the dotted line.
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I'm gonna make the Heaven's mind mable.
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Sister, You're a winner if you say, for a little
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singer who's in.
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Low lie here, someone's eyes his hard clime over love
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and glare reminds.
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Long make you feel like a more.
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The child I'm staying Simon, and that was the love
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is coming.
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He's heady far, He's heady far.
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Fairly short, I'm fairly short gold going.
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From Brunswick Records. Save Me Sister by Cab Callaway and
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his Orchestra Vocal by Cab, recorded in Los Angeles, January
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the twenty seventh, nineteen thirty six. I'm Jeff Bresler. This
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is to make Believe Ballroom and to reach me. I'm
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Jeff at Make Believe Ballroomradio dot Com. That's Jeff at
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MakeBelieve Ballroomradio dot Com. And the reason I bring that
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up is because someone did sit down at their computer
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or on their smartphone and pound out an email to
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that very address, Jeff at MakeBelieve Ballroomradio dot com, and
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I will read that for you now. It says make
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Believe Ballroom. I enjoyed your show last week as you
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played some band leaders that you stated you never played
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on the radio. In my my late great grandmother and
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grandfather's record collection, I found an autographed picture of a
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bandleader named Randy Brooks. I don't know where they got
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the autograph from or when. If you know anything and
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never played his music, can you play one of his
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records for me? And that is signed Madge Auster. No
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location of where she lives. You know, guys, if you
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send us an email and you remember, please let us
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know what radio station you listen to the Ballroom on
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or if you listen to us via the podcasts. And
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with that reminder for you, Madge Auster. Randy Brooks and
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his Orchestra, then a little about the band later who
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had it tough at the end of his life. We
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just listened to Tenderly the Great Standard by Randy Brooks
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and his Orchestra. Beautiful Trumpet Solo by Randy recorded on
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Echo Records back in nineteen forty seven, and that one
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dedicated to Madge Auster, who has an autograph photo of
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Randy brooks Well in the memorabilia she has from her
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great grandparents. So Randy brooks Well. Randy brooks began playing
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the trumpet at six years old and was touring with
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Rudy Valley as a child protege by the time he
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was just eleven. He played with some major bands along
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the way, including Claude Thornhill, Les Brown, and Our Jarrett
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before forming his own big band in nineteen forty four.
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Tenderly That I Just Played was one of his three
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big hits, along with his versions of Harlem, Nocturn and
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The Man with the Horn. He married the popular female
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band leader Aina Ray Hutton, and all seemed great for
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Randy until he had a stroke Unfortunately in nineteen fifty.
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He tried several times to get back into music full
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time but was not able, although he did perform on
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a part time basis. He eventually divorced Aina moved back
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to his hometown in Maine, where he tragically died in
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a house fire in nineteen sixty seven. So imagine a
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little about Randy Brooks and one of his popular hits.
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And I hope perhaps that brings a little greater meaning
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to the picture of Randy that you have in your
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great grandparents' memorabilia. Again to reach me like Madge did
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Jeff at Makebelly Ballroomradio dot com. That's Jeff at mcbully
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Ballroomradio dot com.
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A music.
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I was already Shaw and his Orchestra with the standard
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Sweet Sue, recorded in October twenty sixth, nineteen thirty nine
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in New York City. And while I record was playing,
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I thought I'd look for a record by ininor Ray Hutton.
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Let me play one that I found. Then a little
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about or Ray.
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They had to have something.
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New stand to do up peper harmles.
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Someone started trucking.
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As soon as Luke got bround, so sometimes came up.
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To the MARBM.
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So if somebody trucking, it didn't take long.
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Before that I had doon it podcasting.
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It all the time.
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You see them scuffling, shoppling, trucking along, get fed like
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a Boris stage. It became a crazy and banking harlem.
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Now if somebody is trucking, Salent and Salent.
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And parents.
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An we just heard inor Ray Hutton and her all
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female swing band ininor Ray Hutton and her mellow Deers
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performed Truckin' in the nineteen thirty seven Paramount Pictures short
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film Swing, Hunt and Swing. So not a record here
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that I found, but the song used directly in that
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Paramount short. A little about or Ray Hutton. Ino is
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a true groundbreaker who had a very successful career guiding
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the Melow Deers, perhaps the truly first ever all female
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band of the big band era. She was called the
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blonde bombshell of rhythm, very high energy. She wore if
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you've ever seen any of her soundy videos, form fitting
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sequin gowns and was really equal part bandleader, dancer, and vocalist,
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all wrapped into one, as well as a sex symbol.
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I think I read somewhere along the line she had
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over four hundred gowns. Her success didn't come at all
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from seventy eight RPM records or the radio. She was
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mostly a visual act, so Aina was known more for
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her band, stage and ballroom appearances and appearances in movies
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both full length and shorty types. Let's Play One More
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by Aina Ray. Then a shocking secret she carried throughout
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most of her life.
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And now the Milandier Swing, a number written especially for.
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Hours Mellow Daires Swing ininor Ray Hutton and her orchestra
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recorded back in nineteen thirty eight, and I mentioned the
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secret Hutton carried throughout her career and at a time
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of racial strife in the United States, this opened doors
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for Ina Ray Hutton without her being one hundred percent
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true or honest to her heritage, as she was the
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blond bombshell of rhythm. But she was born on the
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South Side of Chicago to Marvel Ray, a local black pianist.
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Her early years were spent in a black neighborhood, and
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both the nineteen twenty and thirty US Census officially documented
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her as quote unquote mulatto and Negro. She was discovered
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by the famous Gus Edwards, white vaudeville producer around the
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age of eight, and her light skin allowed her to
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successfully crossed the color line. By the mid nineteen thirties,
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she Ininor Ray and her mother and her singing sister
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June Hutton permanently identified as white on public records, leaving
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her true ancestry an open secret held only by the
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black community who actually knew Heinor Ray as a younger woman,
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so that's the true heritage and identity of heinor Ray Hutton.
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I mentioned she had a sister named Betty, Betty Hutton
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