Make Believe Ballroom - 6/19/26 Edition

0:12 It's make believe ballom time. Put all your cares away. All the bands are here to bring good cheer your way. It's make believe balling time and free to everyone. It's no time to friend your Dalis said bombs, close your. Eyes and vis you lie in your solitude. Your favorite bands are on the stands and mister Miller, but you're in the wood. Its make believe Ballom time. We are a sweet romance is to make Bob come on jone last dass last.

1:05 I'm Jeff Pressler, turning on the lights so the Make Believe Ballroom and welcoming you into my Crystal studio for another program of classic big band music from the nineteen thirties and forties. Please get ready, as I played for you some amazing jazz, swing, blues, and boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom, broadcasting almost continuously since nineteen hundred and thirty five. And welcome, welcome, welcome one and all into the Crystal Studio, and thanks so much for joining me today. Also joining me is Tony Pastor.

2:00 Good morning, Morten. Surely look. Now ashes to ashes and dust to dust. The ring of good man, a woman can trusts. Good morning now, mister z Hey my name ain't see it's McAfee. Well, good morning, mister McAfee. Is the little gossip. You can you Well, good morning, mister t P. Come on, send off the noon now listen.

2:46 I met a sweet thing and we took a ride. The next day I learned she was the sigeant's bride. Now watch it, mister TP. Are they making slash tomatoes and peel and peel potatoes? Don't worry, bobbing mac a fiend man. Oh she comes down. That's what I'm talking. Good morning, mister McAfee. Have you heard the very latest news. And also, mister TP, here's a little you can use now a sergeant, I know, gives a lot of kp TP. Keep away from me.

3:27 Mister. Completely, and I'm just sorry, mister welcome morning. There private move money. Well, it's private move as far as I can see. And if the barberdees will go, you got. To brother to me.

4:47 From Bluebird Records, Good morning, mister Zip Zip Zip by Tony Pastor and his Orchestra. Vocals by Eugene Baird, Tony Pastor, Johnny Golf and the rest of the chorus, recorded in New York City, January nineteenth, nineteen forty two. A little load to World War two in a snappy tune to get us started on today's edition of the Make Believe Ballroom. Let Me play another one sounds a little like Bing Crosby. Here. I wonder why.

6:43 Melancholy move Forever haunts me, steals upon me in the night. Forever haunts me over the lonely solemn. Mars, granded, high end guy bar and melancho. On is every. Joy and inspiration tears that all I have to show, no consolation. All I can see is grief. And bloom, kill, a crack of doom, old melony. Deep in the night, I search for a trace of lingering tears so warm and rast But love is a whimsy, as flimsy as lace and arms and rays.

7:31 An empty space. Melancholy mood. Why must you blind me? Fitting me and break the chains the change that bind me? What you released me? Set me three? Bring her back to me, Old Melon, Holy. Moon from Decca Records. Melancholy Mood by Bob Crosby and His Orchestra. Vocal by Bob, recorded in New York City, July tenth nineteen thirty nine, and of course, the popular and genial Bob Crosby, the brother of Bing Crosby, have played several songs on the Ballroom of the Crosby Orchestra with Bob singing, but honestly prefer the orchestra with vocal lists he used like Eddie Miller and Nappy La Mayre.

9:04 I'm going to play one now that features not only a Nappy La Mayre vocal, but an amazing cast of characters playing on this one, with Bob Crosby and his bobcats.

10:15 Hey far far, Yes, don't call me far. I'm growing up now, don't you know. I'm just a regular groomy yourself. Don't call me far. Hey, don't call me far. I'm twenty two guys, I don't blue and there ain't nothing I can't do, so don't call me far. Gosh. I just go and flip my lead. Every time they call me kids. If they don't stop fust, just go nuts. And I don't mean no if nor but hey, yes, don't call me far. Can't you see I'm.

10:55 Not so dumb. I figure they go where you come from, So don't. Sory.

12:10 Bob Crosby's Bobcats with Don't Call Me Boy, recorded for Decca Records in Los Angeles, California, September tenth, nineteen forty and featuring the legendary Mugsy Spanner on the trumpet, Floyd O'Brien the trombone, Hank Demico the clarinet, Eddie Miller, Tenner Sachs, Just Stacey on the piano, Napi La Mayre with the vocal also playing the guitar, Bob Haggard on the bass, and the Great Ray Boudick on the drums. I'm Jeff Bresler and this is the weekly edition of the Make Believe Ballroom, the nation's third oldest continually running radio music program.

12:56 Let's go on now to Cab calloway and then a listener's email. Save me, sister, sister, save me, Save me from a demidation on the lips, among the rise, among the vowels of the ties of other smiles and other. Sighs, from that devil revelry from the life of Fancy Freeze. Save me, sister, sister, Save me. My heart needs salvation.

13:40 On the mitz. I'm gone straight, but lady, from this very day, I'll go the straight narrow way. Sister. If you lead me to you. As you screen and eyes of you don't make me feel. My come motherless child, a sister, last son, and and dozens of loverless cousin. Save me, sister, sister, Save me. What's my best nation. On the rise. I'm gonna shine, I'm gonna sign the dotted line.

14:22 I'm gonna make the Heaven's mind mable. Sister, You're a winner if you say, for a little singer who's in. Low lie here, someone's eyes his hard clime over love and glare reminds.

15:37 Long make you feel like a more. The child I'm staying Simon, and that was the love is coming. He's heady far, He's heady far. Fairly short, I'm fairly short gold going. From Brunswick Records. Save Me Sister by Cab Callaway and his Orchestra Vocal by Cab, recorded in Los Angeles, January the twenty seventh, nineteen thirty six. I'm Jeff Bresler. This is to make Believe Ballroom and to reach me. I'm Jeff at Make Believe Ballroomradio dot Com. That's Jeff at MakeBelieve Ballroomradio dot Com. And the reason I bring that up is because someone did sit down at their computer or on their smartphone and pound out an email to that very address, Jeff at MakeBelieve Ballroomradio dot com, and I will read that for you now. It says make Believe Ballroom. I enjoyed your show last week as you played some band leaders that you stated you never played on the radio. In my my late great grandmother and grandfather's record collection, I found an autographed picture of a bandleader named Randy Brooks. I don't know where they got

17:12 the autograph from or when. If you know anything and never played his music, can you play one of his records for me? And that is signed Madge Auster. No location of where she lives. You know, guys, if you send us an email and you remember, please let us know what radio station you listen to the Ballroom on or if you listen to us via the podcasts. And with that reminder for you, Madge Auster. Randy Brooks and his Orchestra, then a little about the band later who had it tough at the end of his life. We

20:49 just listened to Tenderly the Great Standard by Randy Brooks and his Orchestra. Beautiful Trumpet Solo by Randy recorded on Echo Records back in nineteen forty seven, and that one dedicated to Madge Auster, who has an autograph photo of Randy brooks Well in the memorabilia she has from her great grandparents. So Randy brooks Well. Randy brooks began playing the trumpet at six years old and was touring with Rudy Valley as a child protege by the time he was just eleven. He played with some major bands along the way, including Claude Thornhill, Les Brown, and Our Jarrett before forming his own big band in nineteen forty four.

21:42 Tenderly That I Just Played was one of his three big hits, along with his versions of Harlem, Nocturn and The Man with the Horn. He married the popular female band leader Aina Ray Hutton, and all seemed great for Randy until he had a stroke Unfortunately in nineteen fifty. He tried several times to get back into music full time but was not able, although he did perform on a part time basis. He eventually divorced Aina moved back to his hometown in Maine, where he tragically died in a house fire in nineteen sixty seven. So imagine a little about Randy Brooks and one of his popular hits.

22:30 And I hope perhaps that brings a little greater meaning to the picture of Randy that you have in your great grandparents' memorabilia. Again to reach me like Madge did Jeff at Makebelly Ballroomradio dot com. That's Jeff at mcbully Ballroomradio dot com. A music.

26:19 I was already Shaw and his Orchestra with the standard Sweet Sue, recorded in October twenty sixth, nineteen thirty nine in New York City. And while I record was playing, I thought I'd look for a record by ininor Ray Hutton. Let me play one that I found. Then a little about or Ray.

27:21 They had to have something. New stand to do up peper harmles. Someone started trucking. As soon as Luke got bround, so sometimes came up. To the MARBM. So if somebody trucking, it didn't take long. Before that I had doon it podcasting. It all the time. You see them scuffling, shoppling, trucking along, get fed like a Boris stage. It became a crazy and banking harlem. Now if somebody is trucking, Salent and Salent.

28:21 And parents. An we just heard inor Ray Hutton and her all female swing band ininor Ray Hutton and her mellow Deers performed Truckin' in the nineteen thirty seven Paramount Pictures short film Swing, Hunt and Swing. So not a record here that I found, but the song used directly in that Paramount short. A little about or Ray Hutton. Ino is a true groundbreaker who had a very successful career guiding the Melow Deers, perhaps the truly first ever all female

29:55 band of the big band era. She was called the blonde bombshell of rhythm, very high energy. She wore if you've ever seen any of her soundy videos, form fitting sequin gowns and was really equal part bandleader, dancer, and vocalist, all wrapped into one, as well as a sex symbol. I think I read somewhere along the line she had over four hundred gowns. Her success didn't come at all from seventy eight RPM records or the radio. She was mostly a visual act, so Aina was known more for her band, stage and ballroom appearances and appearances in movies both full length and shorty types. Let's Play One More by Aina Ray. Then a shocking secret she carried throughout most of her life.

31:03 And now the Milandier Swing, a number written especially for. Hours Mellow Daires Swing ininor Ray Hutton and her orchestra

32:53 recorded back in nineteen thirty eight, and I mentioned the secret Hutton carried throughout her career and at a time of racial strife in the United States, this opened doors for Ina Ray Hutton without her being one hundred percent true or honest to her heritage, as she was the blond bombshell of rhythm. But she was born on the South Side of Chicago to Marvel Ray, a local black pianist. Her early years were spent in a black neighborhood, and both the nineteen twenty and thirty US Census officially documented her as quote unquote mulatto and Negro. She was discovered by the famous Gus Edwards, white vaudeville producer around the age of eight, and her light skin allowed her to successfully crossed the color line. By the mid nineteen thirties, she Ininor Ray and her mother and her singing sister June Hutton permanently identified as white on public records, leaving her true ancestry an open secret held only by the black community who actually knew Heinor Ray as a younger woman,

34:28 so that's the true heritage and identity of heinor Ray Hutton. I mentioned she had a sister named Betty, Betty Hutton equally as famous. Let's hear from her then her story. There's a fellow Forgivesy, and he's just as sweet as he can. He has any event Gipsy since I left him, I took to the sea. There's another waiting in Pimona with a. Cute stiffle in his chair. And there's a guy into Tonna who just waits for my shifting Tony. I'm missing on a ride every night. But if you help me, I suppose, then what all us? You mustn't think I'm just a gypsy, but I really all the saturated. There's a fellow waiting and for gypsy, but I'm strictly on my own.

36:39 There's a fella wedding in Milwaukee, one of her more gentlemen. Sometimes he goes to a talkie, but I know that's as far as he goes. There's a fella wedding indicator and she often sat upon. His I'm gonna look him up later. He made quite an impression on. Me Jureka, Eureka, Tennessee. I've got here. What the heck love is? Look anyway, if you're listening one.

37:22 Talking and you wanna who somebody time, there's a follow wadding in Milwaukee. But I'm strictly immon. Strictly on. Capitol Records. There's a Fellow Waiting in Poughkeepsie, written by Johnny Mercer and Harold Arlen June Hutton and the Pied Pipers with Paul Weston and his Orchestra, recorded October seventeenth, nineteen forty four. So Betty Hutton, Ainor Ray's sister, was a major member of the Wonderful Pied Piper's vocal group from nineteen forty four to fifty and after that went on to a long successful career as a solo vocalist.

38:19 She Betty Hutton, was married to Axel stardall music arranger, I guess, best known for his work with Tommy Dorsey. So for you a little about the Hutton sisters, Betty and Aino Ray here on the Make Believe Ballroom and Friends. If you'd like to hear past shows in this series, please go to MakeBelieve Ballroom dot com. That's MakeBelieve ballroom dot com. We're over two hundred and fifty past programs are available for your listening enjoyment. Let Me Now Spin a record that was arranged and conducted by Axel Star Doll and also historically significant for its vocalist.

39:17 Night and Day. You are the one only beneath the moon and under the sun weather near to me, of bar. It's no matter, DOLLI where you are. I think of you deadn night and day.

40:02 Why is it so. That this longing for you follows. Wherever I go? In the roaring traffic spools or in the silence of my lonely room, I think of you. Did not. Night and day?

40:42 Under the hide of me. There's an all, such a hungrying burning inside, and it's torment for be through. Till you let me spend my life making love to you Dan nine nine day, night and day.

41:27 Under the high of there's an awe, such a hungrying burning way down inside, and it's torment. Won't ever be through till you let me spend my life making love to you and note. N and.

42:08 Frank Sinatra recorded his first solo session ever, which featured Cole Porters. Night and Day that we just listened to arranged and conducted by Axel Stardall on January the nineteenth, nineteen forty two for Bluebird Records, certainly a Sinatra groundbreaker conducted by one of his favorite arrangers and conductors, Axel Star Doll, husband of the before discussed Betty Hutton.

42:49 Now I'm having to do day bottom set tomorrow. What a life for me? Monday's gladin to the sorrow. The next day is full of ectasy. Oh now I never know what the night will ring when I awake it one at the dawn. Well, I must cry overhere the warmust sings. Oh Lord, while I'm all. My heart is full of devotion.

43:29 But took loudest guys on our real life. Now you control my every motion with just one look into your lovely eyes. Now I'm happy today, but said tomorrow? What alight for me? Monday gladness jus sorrow, But the next day is full of ecctacy.

44:19 Follow co.

45:14 My heart is the loved devotion mon tru clouded guys on our real life, you. Control my every motion. Oh we just want look into your lovely eyes. Now I'm happy today, but I'm sad tomorrow. What a line long. Monday's gladness to this longo mothern egg. Day you full. From Deco Records back in nineteen thirty eight, with Little Armstrong and her swing band music lyrics by Lil Armstrong, Happy today said Tomorrow Litill of course, a past wife of Louis Armstrong. And next up here on the make Believe Ballroom, let's see what we have on the playlist.

46:17 How about a couple of radio remotes that old Lady

48:48 be good Benny Goodman and his orchestra live from the Manhattan Room of Hotel Pennsylvania on a radio broadcast back in nineteen thirty seven. Why don't we now go back to the radio and again to the band stand at the Manhattan Rooms. Barging and the Boys and the Big Young. Special a.

51:53 Radio remote from the Manhattan Room of the Hotel Pennsylvania and New York City on May the fifth, nineteen thirty seven, Bunny Bergan and his Orchestra with Big John Special. And if you wanted to swing back in nineteen thirty seven, what better place to cut a rug and listen to some great swing music than the Manhattan Room of the Hotel Pennsylvania on Seventh Avenue and thirty Fourth Street in New York City and uh Max CATETI, my friend, I just got your email as I speak here in the microphone of the Crystal studio, so I will play your request next week on the show. But for now I played Lil hardin Armstrong a few minutes back. How about one from Satchmo himself.

53:51 I'm being down then from doomn and one dooms doun. I'm THINKU from from honors. Oh you stun both and I don't forget the w ding Downtown about two minutes parting too. So. Ding Downtown down things down, that is from to mad happy. But it still don't be myself but it didn't But say. I turn to and forting to.

55:53 We we arem Strong recorded and released I'm a Ding Dong Daddy from Dumas on July the twenty first, nineteen thirty from OK Records, recorded in New York City. And folks, we are out of time. The big hand on the big Bullovar clock here in the Crystal studio is approaching the top of the hour. Thank you so much for joining me today. To reach me, I'm Jeff at MakeBelieve Ballroom Radio dot Com. That's Jeff at MakeBelieve Ballroom Radio dot Com. Big thanks to our syndicators and distributors for offering the Make Believe Ballroom cost free to commercial, free, public, community, and university radio stations across the United States as well as in the United Kingdom. They are the Public Radio Exchange PRX, the PACIFICA Network, and Global Community Radio. The program's flagship affiliate is Jazz ninety point one WGMC in Rochester, New York. The Ballroom is also heard on your favorite podcast, per Fighter well via MakeBelieve Ballroom dot com. So until next week, this has been Jeff Bresler