Feb. 20, 2026

Make Believe Ballroom - 2/22/26 Edition

Show Notes
Transcript

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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Oh no miss for.

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Rison Messy.

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On Columbia Records. That was Ted Lewis and his band

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with Royal Garden Blues, recorded on March sixth, nineteen thirty one.

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Now what makes this record that I just played extra

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special are the number of musicians who played this jazz piece.

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You had solos from Fats Waller, Benny Goodman, and the

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legendary trumpet player Muggsy Spaniard, all early in their careers.

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Ted Lewis, I don't think he received enough credit as

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an early jazz great, and that's because he was well.

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Ted was really many things rolled into one. His band

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blended hot jazz like we just heard, with popular sentimental

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songs as well as comedy. And if you ever saw

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Ted Lewis in a movie or on TV, he always

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wore a signatured kind of hat was that it was

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a battered top hat, he used a cane, and he

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performed with very animated, over exaggerated showmanship. So we pulled

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himself in a number of different directions. But why don't

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we go the jazz route again with Ted Lewis? The

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recorded on Decca Records August the twenty seventh, nineteen thirty four,

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in New York City, ted Lewis and his band with

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White Heat. Now Muggsy Spaniard also on that record played

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the trumpet. So why don't I spend one with Muggsy

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when he had his own band.

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And I didn't have anything. I didn't have to different anything,

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never never had a b.

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I think, why don't want ann thig?

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You?

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Yeah, shout gay, I'm good?

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Wha wo.

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Big butter and egg Man buy Muggsy Spaniard and his

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Ragtime Band, recorded for Bluebird Records on July the seventh,

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nineteen thirty nine. Now, now you might think the song

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A big butter and Eggman is about perhaps a grosser,

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it's not because a butter and eggman was actually an expression.

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In the earlier part of the twentieth century, the term

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bread an eggman was used to describe basically a.

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Well.

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It described a big mouth guy. That's the best way

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to explain it. Who would throw his money around a

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butter and egg man.

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Don't be a swell from Delaware, don't be a coon

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from Saskatoons.

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Don't be an egg from battle Crack.

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They do that.

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Sometimes.

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But I just had the pleasure to play both sides

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A and B of a deca seventy eight RPM recording

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the great Get Your Boots Laced Papa by Woody Herman

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and his Orchestra, recorded in the year nineteen forty. I'm

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Jeff Presler, and you're listening to the weekly edition of

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the Make Believe Ballroom Folks. Along forgotten drummer from Louisiana

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was one Zoodi Singleton. He played the drums for many greats,

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including Louis Armstrong, Fats Waller, Wingy manone Eddie Condon. I

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think he played the drums for a while for a

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Hot Lips Page also, But nevertheless, it goes on and on,

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and some of his best work was with his own trio.

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Listen le.

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On Capitol Records, recorded June the thirtieth, nineteen forty four,

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The Zoodi Singleton Trio with Barney's Bounce, Why Barney's bounce well.

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The clarinet on that recording was played by the legendary

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Barney B.

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Guard and Ann.

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King Cock Cock.

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Cock, a Duke Ellington small group fronted by the aforementioned

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the clarinet Great Barney B. Guard on Varsity Records Jazz

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a la Carte Barney B. Guard and his jazz Opeters,

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recorded April twenty ninth, nineteen thirty seven in New York City.

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I think we have time for one more record.

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When my.

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Pum was on the ballroom floats on the general Obviouslyza

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cuta personality, and think of.

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All the books about various.

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Books, what was the man on a toaster perry, She

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had the cutest cuta persinala see watching Romeo. She and

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Juliet are Piero in Feeris are Jupiter in Julia.

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You know.

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Now an salom.

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It danced and had the boys and friends. It must

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be easy to see that she knew how to use

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her personality him.

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One of him over.

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When Madam farm would talk with on bob and foot

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and on can man, obviously the.

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Madam had a cute as.

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Now think of all the book about the very mad

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about person of Paris.

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Anam had you.

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That worthnality Art Julie Happy as in prrest aren't you

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butt into?

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You know?

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Google? Amo transfers.

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That she knew. How do you.

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Worsinanity?

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Personalitude? What a person.

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From Radio Remote Personality Connie Boswell recorded Ma the thirteenth,

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nineteen forty six.

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And folks, we.

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Are at a time the big hand on the big

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bull of a clock here in the crystal studio is

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approaching the top of the hour. So thanks so much

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for joining me today, and thanks to our syndicators and

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distributors for offering the Make Believe Ballroom cost free to commercial, free, public,

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00:57:21.599 --> 00:57:25.440
community and university radio stations. They are the Public Radio

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Exchange PRX, PACIFICA Network, and Global Community Radio. The program's

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flagship affiliate is Jazz ninety point one WGMC in Rochester,

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New York. The Ballroom is also heard on your favorite

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00:57:40.119 --> 00:57:44.320
podcast provider. So until next week, this has been Jeff

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Bresler