Feb. 20, 2026
Make Believe Ballroom - 2/22/26 Edition
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On this week's edition of the Make Believe Ballroom, hosted by Jeff Bressler, a macabre big band passing, a listener's letter about Ray Anthony, a forgotten drummer, and more records and reminiscences from the golden age of the American songbook.
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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 ballroom time and free to everyone. It's
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no time to friend your Dalis said Bambas. Close your
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eyes and visual lize in your solitude.
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Your favorite bands are on this dance.
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And mister Miller, what you're in the mood?
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It's make Believe ballroom time. We are a sweet romance.
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Is to make believe.
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Come on, Joe.
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Last, dast Last, Hello world, I'm Jeff Pressler, turning on
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the lights of the Make Belie Ballroom and welcoming you
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into my Crystal studio for another program of classic big
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band hits from the nineteen thirties and forties. Please get
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ready as I play for you some amazing jazz, swing,
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blues and boogie woogie favorites. Folks, you're listening to the
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Make Believe Ballroom, broadcasting almost continuously since nineteen thirty five.
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And welcome, Welcome, Welcome one and all into the Crystal studio,
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and thanks for joining me today. Let's start the program
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with a little number named Practice Makes Perfect, performed by
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a band leader who spent decades making music.
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Is practice space perfect. Let's try that old embrace in
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some romantic place where we can take our time. If
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practice makes perfect, just close those eyes again. We'll try
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those size again and make them more sublime. We're in
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love skinder Garden learning from A to Z and if
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it's fun just starting, think what it's gonna be. If
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practice makes perfect, let's have that kiss again. We mustn't
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miss again. We're not doing bad right now.
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That was Henry Bousse in his orchestra with practice makes
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Perfect Billy Hunter vocal and that one recorded on a
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transcription disc back in nineteen forty one. Henry Bousse was
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a German born trumpet player, hugely popular specially in the
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twenties and thirties. Let me play one more by Henry
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and then a truly maccarb story about his passing.
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Interesting thing.
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On the Columbia label Hot Lips by Henry Bousse and
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his orchestra, recorded in Chicago, June fourth, nineteen thirty four.
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Hot Lips Henry's signature tune. I told you before Hot
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Lips about the Macarre death of Henry Bossy, Well, I'll
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tell you the story now and as it goes, as
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I mentioned Henry had a long career that took him
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into the mid nineteen fifties. So on April twenty third,
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nineteen fifty five, feeling a little off during the day,
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Henry and his shuffle rhythm band that were playing an
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engagement that evening at the legendary Peabody Hotel in Memphis, Tennessee.
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And of course that's the same Peabody Hotel where and
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I'm sure you've seen it, either in person or on TV.
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A contingent of Mallard Ducks marches each day from outside
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the hotel into and through the lobby, certainly the best
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kept Mallard Ducks probably in the history of duckdom. So
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Henry was playing at this engagement in the Peabody. He
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was high for entertainment and music during a convention. Now, unfortunately,
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while on the bandstand, Henry well, he passed away. Tragic
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under any circumstance. But even more tragic and macarbre was
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what convention he was playing at. It was the Tri
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State Funeral Director's Convention Dance. A true story. Perhaps the
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first person to ever pass in front of a group
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of undertakers, Henry Bousse.
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It left an hour. Then you can't get it it
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live a hour, then you game get him.
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He closed at nine o'clock.
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Now it's at Dudgeons. I don't want to be all again.
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Now you always dign me when you need a lin
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Oh you always did when you need a lint. Now
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take it away.
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Ready, Oh you're not my friends now very day?
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That is.
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You don't love me normal now Betty, ready you don't
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love me no more? You'll go allway and stop that
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nugging on my back.
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Old recorded in New York City on March the tenth,
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nineteen forty seven, for Victor Records, Jack T. Garden's Big
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Eight with Blues After Hours vocal by Jack T. Gardon himself.
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We play another record than a listener's email.
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When the lady meets little Messo, so.
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Me the Swanny move to Swanny today.
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Then the lady tells.
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Little Messo so sure, it's mighty fine just to know
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my my l Then they walk along where mad.
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No, you just go.
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To hot thing a song that little home ago.
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If the not we Roman, then Homer, well, Lady red Man,
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very little man.
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When lady reads the general.
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Menow on Victor Records, recorded back in nineteen thirty six.
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When a Lady meets a Gentleman down South Benny Goodman
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and his orchestra vocal by Helen. I'm Jeff Bresler, and
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you are listening to the one, the only, the original
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Make Believe Ballroom heard almost continuously on the radio since
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nineteen thirty five. I want to now read a lovely
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email that crossed the console of the Crystal studio a
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few days ago. It reads, Hi, Jeff, I found your
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show back in June of twenty twenty five after listening
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to a nineteen forty Glenn Miller broadcast from the Cafe
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Rouge on Apple Music. One of the tracks on the
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album was Make Believe Ballroom Time. Some quick searching landed
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me on Wikipedia, which led me to your broadcast. I
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recently picked up a membership bless you to Jazz ninety
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point one, which hopefully supports the program. I've lived in Ithaca,
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New York for the last five years, and had no
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idea the show was broadcast so close to home. Too bad,
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there is no room in the studio audience would have
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loved to sit in on a broadcast before I moved
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to Chicago next month. I'm writing in because I was
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hoping you could do a segment on Ray Anthony. I
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try to see the Glenn Miller Orchestra live a few
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times a year, and their passed visit to Rochester in
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twoenty twenty five had a few World War Two veterans
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in the audience. That got me to wondering if anybody
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from the Glen Miller Orchestra was still with us, which
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led me to Ray Anthony. I believe he's the last
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surviving member of the Glen Miller Orchestra at one hundred
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and four years old. While I'm sure he's not taking
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interview requests, it'd been amazing to have him on the program,
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the stories he could tell. Could you play one of
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your favorite recordings from Ray Anthony's Orchestra that's signed Greg
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Couch wonderful letter Greg, and how you found the way
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to the Make Believe Paul Rome. Let me first play,
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as you requested, my favorite from the Ray Anthony Orchestra.
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That was mister Anthony's Buggy by Ray Anthony and His Orchestra,
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released in November of nineteen fifty, is a seventy eight
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RPM single on Capitol Records. And Yes, indeed, Greg, Ray
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Anthony is alive and well at one hundred and four
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and is indeed not only the last remaining member of
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the big band era version of the Glenn Miller Orchestra,
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but perhaps almost certainly the last major musician of that
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era who was still with us. He played trumpet with
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Miller and also Jimmy Dorsey, then let his own band,
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recording numerous hit records and albums, as well as hosting
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a TV show with his band. Added all up and
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Ray Anthony spent over eighty years in the industry. Now
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in your letter, Greg, you said, and let me find it.
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We go back to the email you said. While I'm
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sure he's not taking interview requests, it'd be amazing to
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have him on the program. The stories he could tell. Well,
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I can't have Ray physically here in the Crystal studio,
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but I can play a segment from a great radio
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program that was hosted by the legendary Skitch Henderson, who
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spent many years as the orchestra leader for Johnny Carson's
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Tonight Show. Now a Skitch had a program called Music Makers,
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and in the nineteen eighties he interviewed Ray Anthony about
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his time with the Glenn Miller It's one of my
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favorite stories from the big band era, So why don't
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I play that? Cut? Ray Anthony being interviewed by Skitch
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Henderson about Glenn Miller.
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And after me.
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To join on to audition for his band. I don't
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know if you remember Bullets Durgan. He's the one that
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came out to the Flatbush Theater in Brooklyn and pretended
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he knew me, because you know, stealing a musician from
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one band or another wasn't a proper thing to do
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at the time.
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But I.
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Had to go back.
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I had a contract with Al Donahue. I had to
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go back and get out of the contract. And Miller
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didn't think I could do it, and so he hired
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Billy May. So I came back. I told him I'm
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ready and ready to go. So the way it wound up,
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Billy and I joined the Glen Miller band the same
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week in nineteen.
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Forty and then we went on and Glenn Miller fired
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me after about the three.
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Months, I don't know, three or four months whatever it was,
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and the band went to my hometown of Cleveland to
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play at the Palace Theater.
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And whoever replaced me with that didn't hold up too well.
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So his manager at the time Johnny O'Leary came over
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asked me to if I wanted to rejoin the band.
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Of course, was shocking, and that was, you know, the
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high point of my career, since my career was music.
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So I said, yeah, of course they were and they
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were on their way to Hollywood and make a movie
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Sun Valley Serenade. So I rejoined the band, lasted another
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year or so, maybe maybe a year and a half,
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and he fired me again, and nobody, including Paul Tanner
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and some nobody would tell me if they knew exactly
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why I was fired. I was cocky, but in my
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mind I was overly enthusiastic.
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Here I am.
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There's an eighteen year old punt kid at the top
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of the music world. So anyway, that's my history with
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the Glen Miller Band.
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A very funny story by Ray Anthony now Ray in
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that cut if you were paying attention, mentioned going to
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Hollywood to film Sun Valley Serenade. Now, in the film
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The Glenn Miller Orchestra, they portrayed a fictional band named
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the Dartmouth Troubadours. It's one of those movies, thin on
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a madcap plot and heavy on music. You had Glenn
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Miller in the orchestra in the film the ice skating
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movie star of that era, Sonya Henny, the legendary comic
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Milton Burrell, Paula Kelly, and the modernaires Nicholas Brothers dance team.
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I think, if I'm not mistaken, when the Nicholas Brothers
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did a dance number, I think during chattanoogat Choo Choo.
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Dorothy Dandrich was also in the film. I know the
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actor John Payne was in the film. A lot of
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great music was featured. I just mentioned that Chattanooga Choo Choo.
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Also played in the film was Miller's Moonlight Serenade in
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the mood and this song that I'm about to play
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that was played during the opening credits and a second
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time later on in the film.
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Did you ever dance a kiss Poker?
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You can't still a kiss to this spoker.
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She'll be shy when first you try, and by.
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And by she'll say yea, by your plumity.
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You should always do the kiss spoker when there is
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a lot leble.
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It's a dance that you'll be wild about.
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Kids, kids kissed, all kissed thought, it's so much fun.
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One's done with the one you lie.
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Say, how does she go the kiss Polka down in Mahico?
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There's no foca.
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She is so shy when first off try glen By
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and By, she said, checking on my bassis booken me Ma,
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Mamma peggar.
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Defin't gonna need to eat the amel. You should do
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the poker. Do the kiss poker.
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When there's a loon, it's a dance it you'll be
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wild about.
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You want to kiss ten your or kiss out. It's
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so much fun when it's done. Where the.
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Glenn Miller Orchestra with the legendary Ray Anthony playing the
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trumpet and then frequently played Glenn Miller's song titled the
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Kiss Polka music by Harry Warren, lyrics by Mac Gordon
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and featuring on vocals in that one Ernie Cassaris, Paula
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Kelly and the Modernaiirs and performed as I mentioned in
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the nineteen forty one film Sun Valley Serenade. And thank
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you Greg Couch for your email. To reach me via email,
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I'm Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff
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at MakeBelieve Ballroom Radio dot com.
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I don't think head from listen do that lexophone get
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that plane, out that blue. Go to Jason with your nil.
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Make me throw my dumb away when I yell play
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we malt college frayer. Those students to the brain won't
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get right up in dance. I don't take more tennis here.
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No one the blue vacues, but all by blue. Why
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when you get home?
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