Make Believe Ballroom - 9/4/26 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. We are of sweet romance. Here's your make-believe ballroom.

1:01 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 as I play for you some amazing jazz, swing, blues, and boogie-woogie favorites. Folks, you're listening to the Make-Believe Ballroom, broadcasting almost continuously since 1935. And welcome, welcome, welcome one and all into the Crystal Studio.

1:42 And thanks so much for joining me today. let's start off with a Glenn Miller tune. A Glenn Miller tune that I think has, well, had some personal distinction for Mr. Miller. ¶ ¶ ¶ ¶. Thank you. Thank you. Thank you. Oh, my God. Thank you.

4:15 Thank you. Thank you. So Recorded on April 28, 1940 on Bluebird Records, the Walter Donaldson standard, My Blue Heaven, Glenn Miller and his orchestra. And, you know, I think, well, Glenn Miller on the trombone going head-to-head, say, with Jack Teagarden and Tommy Dorsey would finish 3rd. But on this rendition of My Blue Heaven, the record does contain what I consider to be the best Glenn Miller trombone solo of his career. Why don't

5:47 we listen to another Glenn Miller piece? And while that is playing, since I mentioned Jack Teagarden and Tommy Dorsey's prowess on the trombone, it would only be fitting that I feature a record by each of them. And while I search for those two said records, here's Glenn Miller again. ¶ ¶ Why, hello.

7:09 There, Texas What you say? How's every little thing with you today? Well, all right, I reckon I feel pretty fair I just got a letter from a gal down there Down where? Down there Where's there? Where's there? My gal's down home in Texas Don't give me that stuff You do all right Why, I see you with a different chick every night Now, I'm not a bad guy. Won't mention any names But what's the story with you and the dames? Well, Glenn, I guess I do do pretty well. But there's really not an awful lot that I could tell. My pa was a pretty sharp cat in his day and says he used to court more in the old-fashioned way. Why, that old-fashioned stuff wouldn't stand a chance. In the hustle and the bustle of modern romance. Oh, it wouldn't, huh? No. Well, you'll find out. I'll show you just what I'm talking about. Well, go on, then. Okay.

7:49 They didn't have no airy planes. They didn't have no streamlined trains. But they had lonely country lanes when. Paul was Gordon Moore. They didn't have no red safe bars, fancy drinks and caviars. But they had lots of moon and stars when Paul was Gordon Moore. They didn't have no commentator with the news broadcast. They'd listen in on the party line and get their news almost as fast. They didn't have no electric lights, just the lamps they'd spoon at night. Still and all, they did all right. When Paul was Gordon Moore. ¶ ¶ Now, all you say is true, I guess, but there must be more to your success.

8:31 Have you told all, Texas? No. Say, just one thing, I got on ball. He didn't have a saxophone when he courted Ma. The funny thing about the gals today, they go for a guy that can swing and sway. Now, Texas, I think you got something there. Something where? Something there. Where's there? Right there, so go on, start blowing. Well, okay. Get going, go on. I'm going. Start blowing.

9:13 From a December 30th, 1938 radio remote from the Paradise Restaurant in New York City, Glenn Miller, Tex Beneke, and the orchestra with... When Pa Was Courtin' Ma. On the radio, not from the Paramount restaurant, but from the Crystal Studio, you're listening to the weekly edition of The Make-Believe Ballroom. And before that remote, I promised a couple of solos by Miller contemporaries, Jack Teagarden and Tommy Dorsey. Let's start with Jack Teagarden.

11:59 Thank you.

12:42 On Capitol Records, Jack Teagarden, wonderful trombone solo with the Dixieland-themed... Dr. Jazz. And in my haste to get that one ready for you, I did not get the date of recording, but who needs the exact date? Just the fact that we're listening to a wonderful recording around 80 years old speaks for itself. And now let's listen to a true sweet spot song for Tommy Dorsey's trombone. And I promise I will give you the exact date of recording for this one since I have a few more minutes to research that out.

16:24 Tommy Dorsey and his orchestra recorded on July the 1st, 1947 and released by RCA Victor. And what more a fitting name than Tromboneology. You know, I always like to pair back-to-back recordings from Jimmy and Tommy Dorsey, and I will do that now. I opened the show with My Blue Heaven by Glenn Miller, and I mentioned that it was written by Walter Donaldson. Walter was a prolific songwriter, and here is an early Donaldson-written piece made famous by Al Jolson reinterpreted here by Jimmy Dorsey. ¦ Jimmy Dorsey

20:57 and his orchestra with the big band version of the standard Carolina in the Morning, composed by Walter Donaldson, with lyrics by the legendary Gus Kahn, first published in 1922 and eventually becoming a swing era staple for Dorsey's ensemble. was written in 22 and recorded by Jimmy Dorsey in that version on August the 15th, 1939. I'm Jeff Bressler, and you're listening to the one, the only, the original make-believe ballroom broadcasting almost continuously since Martin Block took to the airwaves on WNEW radio in New York City in February of 1935. Let's spin another disc, then. A listener's email.

21:50 ¶ ¶. Heading for the station with a pack on my back. I'm tired of transportation in. The back of a hack. I love to hear the rhythm of the clickety-clack. And hear the lonesome whistle, see the smoke from the stack. And pal around with Democratic fellas named Mac. So take me right back to the track, Jack. Choo-choo, choo-choo, choo-boogie. Woo-woo, woo-woo, choo-boogie. Choo-choo, choo-choo, choo-boogie.

22:32 Take me right back to the track, Jack. You reach your. Destination but alas and alack you need some compensation to get back in the black You take a morning paper from the top of the stack and read the situations from the front to the back. The only job that's open needs a man with a knack. So put it right back in the rack, Jack. Choo-choo, choo-choo, choo-boogie, woo-woo.

23:13 Take me right back to the track, Jack. Gonna settle down by the railroad track Live the life of Raleigh in the beaten down shack So when I hear a whistle I can peep through the crack And watch the train a-rollin' when it's callin' a jack. For I just love the rhythm of the clickety-clack.

24:01 So take me right back to the track, Jack. Choo-choo, choo-choo, choo-boogie. Woo-woo, woo-woo, choo-boogie. Choo-choo, choo-choo, choo-boogie. Take me right back to the track, Jack.. Take me right back. To the track. Yes! Louis Jordan spent a remarkable 18 weeks at number one in the rhythm and blues category with this memorable million seller we just heard. It also reached top ten on the pop sales, jukebox, and radio airplay charts. From Decca Records, Choo Choo Chaboogee by Louis Jordan and his Timpani Five band.

24:53 recorded back in 1946. You know what? I'll get to that listener's email that I promised in just a moment, but how can I not play after that one of my favorite train songs of all time? ¶ ¶. Do you hear that whistle down the line? I figure that it's engine number 49. She's the only one that'll sound that way on the Atchison Topeka and the Santa Fe.

25:44 See the old. Smoke rising round the bend. I reckon that she knows she's going to meet a friend. Folks around these parts get the time of day from the Atchison, Topeka, and the Santa Fe. Here she comes. Ooh, hey, Jim, you better get the rig. She's got a list of passengers that's pretty big. And they'll all want lifts to Brown's Hotel. Because lots of them have been traveling for quite a spell. All the way from Philadelphia. On the Atchison, Topeka, and the Santa Fe.

26:25 All aboard! All aboard! All aboard! Chugga, chugga, chugga, chugga. Chugga, chugga, chugga, chugga. ¶ Let her rip, let her rip, Mr. Engineer ¶ Gotta go, gotta go far away from here ¶ While the man at the fire shovel's on the go ¶ Stick your head out the cab, watch the drivers roll ¶ See the towns and the roads go a-whizzin' by ¶ Fare thee well, Laramie, Albuquerque, high ¶ Yes, sirree, here we are going all the way ¶ Bustle quit till we hit California ¶ ¶ ¶.

27:13 © BF-WATCH TV 2021. On the Atchison, Topeka, and Santa Fe, here she comes. Ooh, ooh, ooh, ooh, ooh, ooh. Hey, Jim, you better get the ring. She's got a list of passengers that's pretty big And they'll all want lifts to Brown's Hotel Cause lots of them have been traveling for quite.

27:59 A spell All the way from Philadelphia On. The Atchison, Topeka, and the Santa Fe. On the Atchison, Topeka, and Santa Fe Written by Johnny Mercer and Harry Warren sung by Johnny Mercer and the Pied Pipers, orchestra conducted by Paul Weston. That was a song from the movie The Harvey Girls, which starred Judy Garland, recorded on Mercer's own Capitol record label back in 1945. I'm Jeff Bressler, and from the Crystal Studio, you're listening to the weekly edition of The Make-Believe Ballroom. Before I literally got sidetracked by train songs, I promised an email from a listener. And I'm looking. I have a second email.

28:54 Maybe we can do two emails in a row. The first email, and I assume it's due to the fact that we featured a reunion between Duke Ellington and Louis Armstrong last week on the show. The email is from Carol, K-A-R-R-O-L. And it reads, good morning, please play something from Louis Armstrong. Thanks much and good work. And I thank you, Carol. And here is a good work from Louis Armstrong, a work that is one of my all-time Armstrong favorites.

29:56 Oh, chocolate drops, that's me, because my hair is curly, just because my teeth are curly. Just because I always wear a smile. Like to dress up in the lady style. Because I'm glad I'm living.

30:39 I take troubles all with a smile. Just because my color's shady. Different maybe. That's why they call me. My hair is good. Oh. My teeth are pretty. Oh, baby.

31:20 Oh, baby, that's what they call me, son.

32:51 From OK Records, Shine by Louis Armstrong and his Sebastian New Cotton Club Orchestra, vocal by Louis Armstrong, recorded in Los Angeles, California on March the 9th, 1931. And to Carol, because you were so nice in writing to us with your request, another of my Armstrong favorites. Up in the morning. Out on the job Work like the devil for my pay But that lucky old son Has nothing to do But roll around heaven all.

33:49 Day Us with my woman Toil for my kids Sweat till I'm wrinkled in gray. While that lucky old sun Has nothing to do But roll around heaven all day Good Lord, up above Can't you know I'm pining Tears all in my eyes Send down that cloud With the silver lining Lift.

34:37 Me to paradise Show me that river Take me across And wash all my troubles away Like that lucky old sun Give me. Nothing to do but roll around heaven all day. Good Lord above, can't you know I'm pining? Tears all in my eyes.

35:21 Send out that cloud with. A silver lining. Lift me to paradise. Show me that river. Take me across And wash all my troubles away Like that lucky old sun Give me nothing to do But roll around. Heaven, heaven. Oh, roll around in heaven.

36:04 Heaven, heaven all day. Let me roll around in heaven. A vocal by Louis Armstrong, no trumpet, no Louis orchestra on Decca Records, recorded back in 1949. We just had the pleasure to listen to that lucky old son, Gordon Jenkins, and his orchestra and chorus. No offense to the chorus, but I think that record would have been much better if it was just a pure Louis Armstrong solo sans the chorus. Very powerful song. I really didn't think it needed the backup. What you do need, though, is the email for this program so I can read and relay your comments and requests to our listeners. I'm Jeff at makebelieveballroomradio.com.

37:05 That's Jeff at makebelieveballroomradio.com. I said that I suspect, and I might be wrong, but suspect that Carol... for an Armstrong recording due to the Satchmo Duke performance from last week via the Ed Sullivan program. And I suspect that this next request might have to do with the Desi Arnaz recording with the Andrew Sisters I played a few weeks back. The record's name was Old Don Juan, if you recall. So let's peruse that email. It reads, Dear Jeff, long-time listener to the Make Believe Ballroom. I go all the way back to the William B. Williams days as the DJ. There is a song that Charlie Barnett recorded, a Cuban song. I can't remember the vocalist. I know not many clues, but I also know you will be able to pull it out of one of your dusty crates.

38:11 Thanks. That's signed Arnold Stern, who listens in New York. And Arnold, I know from what you speak. Thank you.

39:06 The Yorktown folks are quite aware Of something in the Harlem air A rhythm with a kind of beat They'd never heard from Cuban Pete There came to Harlem's door one day A Cuban band with something new to say. When they began to play, they played the Cuban boogie woogie. Their music held a new delight Because they had the rumble rhythm right Just like Havana Still it was the Cuban boogie-woogie It began When they heard a band from Dixieland Me Every man Wanted to incorporate the eighth beat Straight eighth beat So now they have it figured fine And what they play is really on the line It's all combined and it comes out the Cuban buggy buggy.

40:54 From Bluebird Records, with Charlie Barnett and his orchestra, we just heard Cuban Buggy, Judy Ellington. Vocal recorded back in 1939. And Judy, Judy Ellington, had a great voice, but, well, unfortunately had a career that didn't match. She certainly had her moment of fame back in 1939. She, in my estimation, was in the right place at the right time. And being in the right place at the right time found her in the national spotlight. When Charlie Barnett's band broke out as one of the major swing orchestras in the country and she was hired as the vocalist, Judy Ellington was unable to follow up on that popularity, however. That covered 1939 and she started to quickly drift into obscurity after leaving the band. As band dynamics started to change in 1939 for Charlie, she and a few other band members moved on, including the great clarinetist Tommy Reynolds. She joined his band, but that lasted for less than a year, and that was pretty much her career. Let's hear one more by Judy Ellington. Oh yeah, by the way, Judy was not related to Duke Ellington in any way.

43:25 THE END. Long ago swung a young gorilla through the trees. What a killer dilla. Ever since, thanks to that gorilla, some. Life had hopped. Later on, fiddled Mr. Nero. Down in Rome, he was quite a hero. Ever since, thanks to Mr. Nero, some life had hopped. When a rooster burst, went, peck, peck, the community bent his neck. But did rhythm perish with him? No, no, no, no, no, I should say not. ¶ Everywhere you can find survivors ¶ Nowadays people call them jivers ¶ Thanks to those senders and arrivers ¶ Some like it hot ¶.

44:51 From Bluebird Records with Charlie Barnett and his orchestra, Judy Ellington vocals, Some Like It Hot, recorded in New York City back in 1939. I'm Jeff Bressler. This is the Make Believe Ballroom. I'm in the Crystal Studio regaling you with the collection of 78 RPM records and radio remotes, and I do that each and every week here on the show. ¶ ¶ Thank you.

46:16 Yes! Yes!

47:37 Thank you. Thank you. That was Johnny Hodges and his orchestra with Queen Bess recorded for Victor Records on November the 2nd, 1940 in Chicago, Illinois. Johnny, one of the alto sax greats, is best known for solo work with the gentleman I just mentioned, Duke Ellington.

48:36 He played lead alto in the 70s for the Duke. I think he had his own orchestra for a few years, if I'm not mistaken, in the early 50s, but that was a pretty quick stint, and he ultimately went back to Duke. I would say that along with Benny Carter in the 1930s especially, Hodges has to be considered to be one of the definitive alto saxophone players of the Now, in the record we just heard, Johnny and his orchestra were, in actuality, the front name for one of the many Duke Ellington small bands. Small band in that record we just heard, but certainly big music. So why don't we play one more from Johnny Hodges.

49:33 Thank you. Thank you. Thank you. Thank you.

50:23 Thank you. © BF-WATCH TV 2021.

51:09 Thank you. © BF-WATCH TV 2021.

52:00 Recorded in New York City on March 28, 1938. Rendezvous with Rhythm via Vocalion Records. Johnny Hodges and his orchestra under the umbrella of Duke Ellington. And I've got to look this up. Maybe I'll look it up during the next record we play. I'm almost sure he was one of the prominent Ellington band members. I'm talking about Johnny Hodges, who was featured in Benny Goodman's classic 1938 Carnegie Hall concert I think we have time to play one more record at least before we close up the Crystal Studio. And let's see what I can spend.

53:13 ¶ ¶ Swing it high and swing it low, swing it everywhere you go.

53:53 Oh, swing it. Yeah, man, swing it. Now swing it left and swing it right. Swing it morning, noon, and night. Oh, swing it. Yeah, swing it. Now harmonies and melodies, let them swing. Don't you know that if you don't swing it, it don't mean a thing. Swing it up and swing it down. Swing it all around the town.

54:36 Oh, swing it. Yeah, swing it. © BF-WATCH TV 2021.

56:22 I mentioned the equally great alto saxophonist Benny Carter a few moments ago, a contemporary of Johnny Hodges. So for you, I just played from Columbia Records, Swing It by Benny Carter and his orchestra, vocal by Benny Carter, recorded in New York City, March the 14th, 1933. And folks, we are totally out of time. Thanks so much for joining me today. To reach me, I'm Jeff at makebelieveballroomradio.com. That's Jeff at makebelieveballroomradio.com. I want to take a moment to thank our syndicators and distributors for offering the Make-Believe Ballroom cost-free to commercial-free public community and university radio stations across the U.S., 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 90.1 WGMC in Rochester, New York. The Ballroom is also heard on your favorite podcast provider or going to makebelieveballroom.com. So friends, until next week, this has been Jeff Bressler.

57:42 ¶ ¶