Make Believe Ballroom - 9/25/26 Edition

0:12 It's make-believe ballroom time Put all your cares away All the bands are here To bring good cheer your way It's make-believe ballroom time And free to everyone. It's no time to fret, your dial. Is set for fun. Just close your eyes and. Visualize in your solitude. Your favorite bands are on the stands and Mr. Miller puts you in the mood. It's make-believe ballroom time.

0:55 The hour of sweet romance. Here's your make-believe ballroom. Come on, children, let's dance, let's dance. Hello, world. I'm Jeff Bressler, turning on the lights of the make-believe ballroom and welcoming you into my crystal studio. for another program of classic big band music from the 1930s and 40s. Please get ready. I've got an amazing lineup of jazz, swing, blues, and boogie-woogie favorites coming your way. Folks, you're listening to the Make-Believe Ballroom, broadcasting almost continuously since 1935 and proud to be America's third longest running musical radio program and welcome welcome welcome one and all it's so wonderful to have you tuning into the ballroom again this week i hope you're having a great day wherever you're listening from whatever you're doing i invite you to just sit back get comfortable and let the outside world fade away for a little while into a stream of 1930s and 40s nostalgia We have a truly special lineup of music ready to go, and to get our toes tapping right out of the gate, I'm going to set the tempo high, starting today's program with a little Gene Krupa.

2:20 ¦ Thank you. Thank you.

3:01 There's a boy down on our street who plays the drums with such a beat. You cannot control your feet when. You hear the drummer boy. In the morning when you wake, you can hear him take a break. Soon the whole street starts to shake when they hear the drummer boy. Bing, bang, ding, dang. He's so nimble on the cymbal. Bing, bang, ding, dang. When he plays them, he just slays them. All your troubles fly away. Every day's a happy day. Everything will be okay when you hear the drummer boy play.

3:48 Gather round, all you chums Watch this cat spin those drums Swing it, brother, beat that high Take us on a diving ride. This is what the doc prescribed for a case of jibs and jibs. Drummer boy, please give out almost half.

5:09 That was Gene Krupa and his orchestra with Drummer Boy. We had the wonderful Irene Day providing the fantastic vocal on that track. And that particular gem was recorded on a summer day in Chicago, Illinois, August the 6th, 1940 to be exact, and originally released on the OK Record label. I've got a wonderful email. from a listener that I've been looking forward to sharing with you all. And we'll be opening up the Make-Believe Ballroom mailbag in just a few minutes. But first, let's keep the rhythm going. Let me play just one more tune for you before we dive into that.

6:24 Thank you. Thank you.

8:43 And that was the undeniable sound of the King of Swing himself, Benny Goodman, and his orchestra with a little number called the Kingdom of Swing. Now, the story behind that particular record is quite a fascinating piece of jazz history. That track was originally recorded way back in April of 1939, but Benny. Actually rejected the master. The pressing was shelved and sat unissued in the vaults for over two decades. It finally saw a commercial release in 1960 when RCA Victor put it on a compilation LP of that exact same name, The Kingdom of Swing. Good things really do come to those who wait, I guess. And speaking of Benny's perfectionism in the studio, where rejected tracks were common, he was absolutely famous among his musicians for something they called, quote, unquote, the ray. Benny demanded absolute perfection during rehearsals and recording sessions.

10:05 So if a trumpet player missed a single note, or if, say, a drummer was even a fraction of a beat off tempo, Benny would never say a word. He would just slowly lower his clarinet and stare them down with this piercing icy glare, quote-unquote, the ray. It was said that that look alone could make the most seasoned, hard-swinging musicians shake in their boots. He was a tough taskmaster, but when you hear the music they made, it's hard to argue with the results. Before we go to that listener's email from far, far away, let me double back for just a moment to that 1960 RCA Victor compilation album, The Kingdom of Swing, which I have a copy of and frequently enjoy. That album was such a treat for big band fans and for myself because it focused heavily on unearthing Previously unissued alternate takes, a bunch of hidden gems, and rare vocal collaboration from Benny's prime Victor recording years, which I would have to consider for Victor. It was between 35 and 39. Several months ago, I played a

11:40 cut from Ella Fitzgerald singing with Benny. on a song that appeared on the Kingdom of Swing. I think it was Good Night, My Love. But speaking of unissued gems, here's a remarkable track from the Benny Goodman Quartet that was never commercially released at the time. It's a previously unissued alternate studio take. So why don't we drop the needle on that rare recording? Piano plays.

12:21 Thank you. Thank you.

13:56 If the blues was whiskey, babe I would stay drunk all the time All the time If the blues was. Whiskey I would stay drunk all of the time. Now if I get drunk, babe, I would leave you behind.

14:40 I would leave you behind. Played Mr. Goodman. Played a long, long time. Yeah. Oh, played Mr. Wilson. Played a long, long time. Now when Mr. Kruble beat those riffs, he don't let you down. Yeah.

15:32 That was the classic vibraphone blues by the legendary Benny Goodman Quartet, recorded out in Hollywood on August the 26th, 1936. That session captures a truly iconic lineup. Benny Goodman on clarinet, Teddy Wilson tickling the ivories on piano, Gene Krupa setting the pace on drums, and the brilliant Lionel Hampton laying down those signature vibraphone lines, and taking a rare, relaxed turn on lead vocal. When Lionel Hampton joined Benny, Teddy, and Gene in August of 1936, the Benny Goodman Trio officially became a quartet. And you know, beyond the incredible music, They broke major ground as one of the very first racially integrated groups to perform and record in popular American music, the Benny Goodman Quartet. Now, unlike Benny, Teddy, Gene, and Lionel, I'm not a quartet. I'm just solo me here in the Crystal Studio, albeit with a few folks behind the glass.

16:53 And you're listening to the weekly edition of the Make-Believe Ballroom. If you'd ever like to drop me a line, share a memory, or make a request, you could always reach me at Jeff at MakeBelieveBallroomRadio.com. That's Jeff at MakeBelieveBallroomRadio.com. And someone who reached out to us recently is listener David Aronson. And he writes, Dear Jeff, Greetings from Vienna. I enjoy listening to your show on my mobile phone with a Bluetooth loudspeaker on UK 1940s radio. That's one of our favorite stations out of England. I love hearing the names of the old hotels, which were the homes of many of the great big bands. Recently, you mentioned the New Yorker.

17:46 which was later bought by the Unification Church, how things change. Not long ago, we were invited to a wedding at the Glen Island Harbor Club in New Rochelle, New York. I was probably one of the only guests who knew we were standing in the former Glen Island Casino, one of the most important venues of the big band era and frequently spoken about here on The Ballrooms. David goes on to say, I'm originally from Yonkers, New York, and came over to Europe as a coach and conductor at the Vienna State Opera, where I'm now retired. How impressive.

18:31 I went back to Yonkers to get married in 1979. My mother arranged for the wedding to take place at one of the temples in Yonkers, and she found the band for us. The quartet consisted of four elderly African-American jazz musicians. Although they had most likely never played a Jewish wedding before, they were great. A while back, you mentioned the name of a musician on a recording. Snub Mosley, the inventor of the slide saxophone. Well, he was the leader of our wedding quartet. Unfortunately, at the time, I didn't know how well-known he was. Later, after the advent of the Internet, I looked him up and realized he was a truly important musician of his era. Just a little trivia. Thanks for all the good music you present.

19:30 Best wishes, David Aronson. David, what a fantastic letter. Imagine having Snub Mosley, a Harlem Renaissance jazz icon, and legendary trombonist playing your wedding in Yonkers in 1979. That's a, true piece of music history right there. You know, for those of you who might not be as familiar with Snub Mosley, he was a true legend of the era, Lawrence Leo Mosley, Snub, was a master trombonist who played alongside greats like Fats Waller, Claude Hopkins. I think in the 40s he was with Louis Armstrong before taking the lead with his own band. He's probably best remembered as the man with the funny horn because he actually invented his own instrument, the slide saxophone, which David alluded to in his letter. which combined a saxophone body and reed with a trombone slide. So in honor of David's letter, let's play a little Snub Mosley right now. This is a track called Squash Head, recorded by Snub Mosley and his orchestra back in January of 1947 for the little-known Sonora record label. Now, I have to admit, the copy

21:04 I have here in the Crystal Studio is a little scratchy, to say the least, but that authentic vintage surface noise, I'll call it, shouldn't deter too much from your musical enjoyment. Here is Snub Mosley and his orchestra with Squash Head. ¦ Squash it. Standing on the corner. Squash it.

21:44 Taking bets on the weather. Squash it. Get conniving and jabbing. Just a blow on your natural top. Squash it. Never save a dollar. Swash it. Got a brain like a feather. Swash it. You shouldn't be drivin' cause you never know when to stop. Got yourself a mantle worth me oh my. You run around in circles. Till you get high. Swash it. Pull yourself together. Squash head. Get your mind off the weather. Squash head. You'll never be thriving just as long as you're soft on top.

24:00 So again, thank you so much for writing all the way in from Vienna, Austria, David, and for keeping the spirit of the big band era alive across the ocean. I'm Jeff Bressler, and you're listening to the one, the only, the original Make Believe Ballroom, broadcasting almost continuously since February of 1935. That makes us America's third longest running musical radio program, sitting right behind two monumental broadcast giants. First, of course, is the Grand Old Opry. I'm a true radio head, a true radio nut. The Opry premiered back on November 28th, 1925, on the famed station WSM in Nashville. Now, here's a fun fact, and sorry to be the radio nerd I am, but the Opry started out as the WSM barn dance, but an announcer named George D. Haye gave it its famous name in 1927 after coming on the air right after a classic opera program declaring, quote-unquote, for the past hour we have been listening to music taken largely from grand opera, but from now on we will present the grand old opera. And just by coincidence,

25:34 sitting in second place, The legendary Metropolitan Opera Radio broadcasts, yes, the real opera, which launched their regular network runs on Christmas Day in 1931. Now, the Met broadcasts held a staggering record of their own. For over 63 years, Texaco, the gasoline company, still some Texaco stations out there, Texaco sponsored those Saturday afternoon broadcasts from the opera, making it the longest continuous single-sponsor partnership in radio history to this very day. And right behind those titans, we are proud to keep the big band era spinning strong right here in the Crystal Studio. Coming up next, we've got a fantastic record by Mr. T himself, the legendary jazz trombonist and vocalist Jack Teagarden. And right after that, we've got a great listener request heading your way. So let's drop the needle on Jack Teagarden.

27:01 I swung the election friend That's no small order To just. Blow nose and sweep all the votes. From Canada to the Mexican border I started out with a bang Blow the Dixie line Mopin' and shot was burnin' hot And every single vote was mine. From there I swung westward, taking every state in my stride. My bandwagon swinging Everybody started in to ride I won every town and state Without exception My friends. My friends. I swung the election.

27:47 Now to give. You some idea of the reception I was accorded, I took a sound man along with me and had these scenes recorded. Ladies and gentlemen, this is the night for me. To introduce this famous man, I give you Jackson Key.

28:40 Now, my final rally, Swungy Thing, because I saved my best for the last. I'll give you just the highlights... Of this, my farewell blast. ¶ ¶.

29:20 And that was Mr. T himself, Jack Teagarden, and his orchestra with that wonderful 1939 tune, I Swung the Election. And if you guessed that Glenn Miller wrote that song, you hit the nail right on the head. Glenn Miller is indeed credited to as the composer behind that track. Jack and his orchestra laid that one down. I swung the election in New York City on July the 19th, 1939. And Columbia Records released it, backed with Aunt Hager's Blues. That track featured Jack doing double duty, delivering both his legendary trombone work and, again, his signature easygoing vocals, as he did with I Swung the Election.

30:14 And you know what? Before we delve into that listener's request I mentioned, why don't we just flip that record over? Since we have that vintage Columbia 78 resting on the turntable in the Crystal Studio, it would be a shame not to spin the B-side. composed by the great father of the blues, W.C. Handy. This one features Big T's signature soulful trombone and lazy bluesy vocals at their best with Aunt Hager's Blues. ¶ ¶ ¶ ¶ ¶. ¶ The way of livin' right Said he'd no wingin' No ragtime singin' tonight.

31:10 Up jumped that Hager and shot it out with all her might. Oh, just a different Hager's children harmonizing to that old mournful tune. It's like a choir from on high broke loose. If the devil brought it, the good Lord sent it right down to me. Oh, let the congregation join while I play those lovin' eggers blues. ¶ ¶ © BF-WATCH TV 2021.

33:58 I'm Jeff Bressler and you're listening to the Make Believe Ballroom. Now, if you're enjoying today's program and would like to hear a few hundred more archived shows in your copious free time, make sure to head over to our website at makebelieveballroom.com. That's makebelieveballroom.com. You'll find hours upon hours of classic Big band broadcasts, special features, and rare recordings waiting for you anytime, day or night. That's makebelieveballroom.com. Now, after hearing Jack Teagarden play a little Dixieland, let's head down to New Orleans, the home of Dixieland, the home of our wonderful affiliate station, WDXR.

34:46 and the home of listener Ira Epps, who I guess had a little bit of that copious free time to send in a request. He writes, Jeff, love the ballroom. I know the Andrew sisters recorded many duets with Bing Crosby, but they also recorded with the legendary Al Jolson. Can you play one of their duets? Thank you so much for writing in, Ira. You are spot on. I was just looking to see if he had anything else on that email. Hold on one second. I got it off the screen too quickly. No, that was it. So thank you so much for writing in, Ira. You are spot on. When people think of the Andrew sisters collaborating, Bing Crosby and Al Jolson are usually the first two names that spring to mind. Now, this is a loaded question, Ira, because I can see you want to know if I am sleeping at the switch. Well, I'm not. But first, Patty Maxine and Laverne, the Andrews sisters, recorded an amazing 47 tracks with Bing Crosby between 1939 and 1952, and that yielded 23 chart hits. and 12 gold records, including classics like Pistol Pack and Mama and Don't Fence Me In.

36:13 And those famous sessions with Al Jolson gave us four timeless tracks, including the old Piano Roll Blues and Ira, You Dog, Living in New Orleans. The sisters and Al Jolson gave us Way Down Yonder in New Orleans. Way down yonder in New Orleans, in the land of the dreamy scenes, there's a garden of Eden, just what I mean. Oh, to me, oh, baby, with flashing eyes, softly whisper with tender sighs, stop. Oh, won't you give the old lady fair a little smile, stop. You bet your life you'll linger there a little while. There is heaven right here on earth with those beautiful queens way down yonder in New Orleans.

37:11 Way down yonder in New Orleans. Way down in the land of dreamy scenes. There's a garden of Eden. You know that's what I mean. Three old babies with flashing eyes. Softly whisper with tender sighs. Stop. Oh, won't you give your lady fair a little smile? Stop. You bet your life you'll linger. There a little while. They got angels right here on earth. Hey! Wearing little blue jeans. Way down yonder in New Orleans.

37:57 Stop! I want to give your lady fair a little smile. Stop! You bet your life you'll linger there a little while. There is heaven right here on earth with those beautiful queens. Way down yonder in New Orleans. Way down in New Orleans in the land of dreamy seas. There's a garden of Eden. ¶ That's what I mean ¶ ¶ Rio. Babies with flashing eyes ¶ ¶ Softly whisper with tender. Sighs ¶ ¶ Oh, stop, oh, won't you give your lady pal ¶ ¶ A little smile, I said stop ¶ ¶ You bet your life you'll linger there a little while ¶ ¶ There is heaven right here on earth ¶ ¶ With a beautiful queen ¶ ¶ Way down yonder.

38:45 In New Orleans ¶. That was the one and only Al Jolson teaming up with Patty, Maxine, and Laverne, the Andrews sisters, on that spirited rendition of Way Down Yonder in New Orleans, recorded for Decca Records in March of 1950 with Vic Schoen and his orchestra, providing that brassy backing. That track was released as the B-side to their hit, the Old Piano Roll Blues. It captured Jolson right during his triumphant career resurgence in the late 1940s and early 50s. showing that the master entertainer still had plenty of swing left in him. Unfortunately, I think he passed away later in that same year, 1950.

39:42 So thanks, Ira Epps, for your email leading us to the Andrews sisters and Jolie. Now, speaking of those famous Andrew Sisters team-ups, perhaps the most unlikely pairing in their entire catalog came when Decca executive Milt Gabler decided to smash boundaries completely. In early 1949, they brought together the Queen Bee Swing Harmony Trio, the Andrew Sisters, with Urban Pop. mixed with the Texas troubadour himself, country legend Ernest Tubbs.

40:24 And at the time, big band pop and hillbilly music lived in completely different worlds. But when the girls stepped into the studio with Tubbs and his Texas troubadours, magic did indeed happen. They cut two back-to-back hits, Don't Rob Another Man's Castle and I'm Biting My Nails and Crying, And that single was a massive crossover smash, hitting the top ten on the pop charts while simultaneously climbing to number one on the country charts. And it proved that Honky Tonk and Hollywood Big Band Swing could share the same record groove seamlessly. Let's take a listen to this historic crossover record. Here are.

41:17 The Andrew Sisters and Ernest Tubb with I'm Biting My Nails and Crying. You really got me worried now, I must confess it's true. I sit around twiddling my thumbs, breaking my heart in two. I'm wondering if you love me so the way you say you do. I'm biting my fingernails. And thinking dear of you. Biting my fingernails, thinking of you. Don't love nobody else.

41:58 It's funny, but it's true. Just got a feeling maybe we're through. I'm biting my fingernails and thinking dear of you. If you think before you speak how happy I would be You'd never. Hurt me deep inside, you'd think the world of me. Instead you say whate'er you please, whether or not it's true I'm bitin' my fingernails and thinkin' dear of you Bitin' my fingernails thinkin' of you. Don't love nobody else, it's funny.

42:38 But it's true. Just got a feeling, maybe we're through. Biting my fingernails and thinking dear of you. Ah, come on in for the party. Hot Cyndals! Biting my fingernails thinking of you Don't. Love nobody else, it's funny but. It's true. Just got a feeling maybe we're.

43:20 Through Biting my fingernails and thinking dear of you. If you have plans to end it all I wish you'd tell me now Don't leave me thinking that someday you'd leave me anyhow. For I'll forget we ever met and find somebody new. I'm biting my fingernails and thinking dear of you Biting my fingernails, thinking of you. Don't love nobody else, it's funny but it's true. Just got a. Feeling maybe we're through. Biting my fingernails and thinking dear of you.

44:08 I'm Jeff Bressler, and this is the weekly broadcast of the Make Believe Ballroom, coming to you coast to coast, as well as across the pond in the United Kingdom via public university and community radio stations, and available anytime via podcast on all your favorite podcast providers. Here's a favorite track of mine, not just for the famous clarinet, but also the famous trumpet, and I'll throw in after the record a great story to boot.

45:42 THE END.

47:17 That Fiery Side was recorded in Hollywood at the RCA Victor Studios on April 5th, 1945 and released on the Victor label. The track was arranged specifically to showcase trumpet titan Roy Eldridge, whose legendary nickname was, you guessed it, Little Jazz. Now, there's a great piece of music industry trivia behind that session.

48:03 Roy Eldridge was actually under contract with Decca Records at the time, but Decca gave him special permission to record with Artie Shaw. on the condition that Victor couldn't use Roy's name anywhere on the record label or in promotions. So composer Buster Harding and Artie Shaw indeed got crafty. They titled the tune Little Jazz as a, well, as a sly wink and a nod credit to the trumpet virtuoso blazing through that solo. Why don't I now play another solo by Little Jazz, then how he got that name.

48:51 Little Jazz. Thank you. © BF-WATCH TV 2021 © transcript Emily Beynon.

51:47 Folks, that was the magnificent rocking chair written by the great Hoagy Carmichael and recorded by Gene Krupa and his orchestra on July the 2nd, 1941 for the OK Record label. Now, you might wonder how Roy earned his famous nickname, Little Jazz. Well, it was actually handed to him back in the early 1930s by Otto Hardwick, who was an alto saxophonist and Duke Ellington's orchestra. Hardwick was amused by the giant contrast between Roy's physical size. He stood at just five foot three inches tall, and the monumental high-octane power of his playing.

52:34 Roy was small in stature, but every single cell in his body burned with pure, relentless energy. jazz energy, as we've been listening to. And when you hear a solo like the one he just delivered on Rocking Chair, you realize there was nothing little about him at all. Stick around, folks. More timeless music's on the way right here on the Make Believe Ballroom. ¶ ¶ © BF-WATCH TV 2021.

53:44 Thank you. THE END.

54:45 Thank you. Thank you. The End Thank you.

55:39 Thank you. That was Bob Crosby and his orchestra with their swing and take on Harold Arlen's classic Between the Devil and the Deep Blue Sea. Bob and the band recorded that track in New York City for Decca Records back on February the 8th, 1937, featuring a fantastic arrangement by legendary bassist Bob Haggard. And with that, folks, we are out of time. The big hand on the big bull of a clock here in the Crystal Studios approaching the top of the hour. Thanks so much for joining me today.

56:50 To reach me, I'm Jeff at makebelieveballroomradio.com. That's Jeff at makebelieveballroomradio.com. For past shows or to record a request, go to makebelieveballroom.com. That's makebelieveballroom.com. Quick thanks to our syndicators and distributors for offering the Make-Believe Ballroom cost-free to commercial-free public, community, and university radio stations. They are the Public Radio Exchange, PRX, the Pacific Network and Global Community Radio. The program's flagship affiliate is Jazz 90.1 WGMC in Rochester.

57:33 New York. The Ballroom is also heard on your favorite podcast provider. So friends, until next week, this has been Jeff Bressler. ¶ ¶. Bye. Bye.