March 13, 2026
Make Believe Ballroom - 3/13/26 Edition
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The Make Believe Ballroom, hosted by Jeff Bressler, brings you Classic Big Band Hits from the 30s and 40s.
On this week's edition of the Make Believe Ballroom, hosted by Jeff Bressler, a little-remembered big band singer, the use of the organ in 1930s and '40s jazz, Artie Shaw and Benny Goodman play Klezmer, many more records, stories, and reminiscences from the big band era.
WEBVTT
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It's make Believe ballroom time.
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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 Believe ballroom time and free to everyone. It's
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no time to friend your Dalis said bombs, close your
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eyes and vis you lie in your solitude.
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Your favorite bands are on this dance and mister Miller,
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but you're in the wood.
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It's make Believe Ballroom time. We are a sweet romance.
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You make bo Come on Joe the Last das last.
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Hello World. I'm Jeff Bresler, turning on the lights of
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the Make Believe Ballroom and welcoming you into my Crystal
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studio for another program of classic big band jazz from
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the nineteen thirties and forties. Please get ready as I
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play for you some amazing swing, blues, boogie woogie and
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jazz favorites. Folks, you're listening to the Make Believe Ballroom,
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broadcasting almost continuously since nineteen thirty five. And welcome a
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one and all into the Crystal Studio. And thanks for
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joining me this week as I get ready for a
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parade of seventy eight RPM records and radio remotes, some
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perfectly remastered, others well let's just say comfortably authentic and scratchy,
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but all reducing results like this.
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Jeepers, creepers, Where'd you get those peepers? Jeepers, creepers? Where'd
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you get those eyes? Gosh, all get up? How'd they
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get so lit? Gosh all get up? How'd they get
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that size?
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Gollig?
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Geez?
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When you turn those heaters on?
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Whoa is me?
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God?
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Who put my cheaters on?
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Jeepers, creepers?
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Where'd you get those peepers?
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Oh?
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Those weavers?
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How the hypnotas? Where'd you get those eyes.
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On?
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Victor Records Jeepers Creepers? Written by Johnny Mercer and Harry Warren.
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Larry Clinton and his Orchestra vocal by Ford Leary, recorded
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in New York City, November the eleventh, nineteen thirty eight.
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Ford Leary is the name you well might not be
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familiar with. When one thinks of vocalists and Larry Clinton,
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the name of b Wayne comes first to mind, but
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Ford was very power popular with Clinton in the late
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thirties and to nineteen forty. Let's play one more from
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Larry Clinton and his Orchestra with the Ford Leary vocal.
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Last night I saw him upon the stairs, a little
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man who wasn't there. He wasn't there again today, Or
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how I wish he'd go away.
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When I came.
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Home last night at three, the man was waiting there
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for me, But when I looked around the hall, I
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couldn't see.
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Him there at all.
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Go away, go away.
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Don't you come back anymore?
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Go away, go away, and please don't slam the door.
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Last night I saw hi upon the stairs, a little
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man who wasn't there. He wasn't there again today. Oh,
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how I wish he'd go away.
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Don't come back anymore.
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Away, and please don't slam the doll. He wasn't there
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again today. You know how I wish he'd go away.
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Away, don't come back anymore.
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On Victor Records, The little Man who Wasn't There by
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Larry Clinton and his Orchestra, vocal by Ford Leary and
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recorded in New York City, June the twenty third, nineteen
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thirty nine. Ford Leary was a big in stature, and
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he was on the pinnacle of actually becoming a Broadway
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and film star. In addition to being a vocalist, Ford
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played the cello, guitar, and multiple brass instruments. In May
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of nineteen forty four, Ford joined the pit orchestra of
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the Broadway musical Followed the Girls, starring the amazing Jackie Gleason. Now,
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producers had a difficult time finding an understudy for Jackie,
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and they finally decided to sign Ford Leary for the role.
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So he filled in several times for Jackie when Gleason
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was ill or had other obligations, and in June of
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nineteen forty five he took over the role permanently when
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Gleason left the show to star in the twentieth Century
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Foxe what was the name of that film? Dolface Ford
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Leary on stage proved to be a big hit, and
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that attracted film and other Broadway offers, But unfortunately, Leary
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injured his back at some point and had to leave
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the show. He spent the next couple of years in
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upstate New York recovering from his back injury. Then after that,
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rumors abounded that he was not a well man, and
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those rumors unfortunately proved to be true, because Ford passed
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away in June of nineteen forty nine. He was only
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forty years old. He worked with Charlie Barnett and his
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orchestra and many in his band finally remembered what a
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great family man Ford was. Charlie Barnett was wildly popular,
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and of course of that, and traveling from coast to
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coast all the time, Ford Leary purchased the station wagon
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to follow the band's bus, or to try to follow
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the tracks of the train, and he'd pile into the
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station wagon with him his wife and it was either
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four or five kids in tow Ford Leary on Brunswick Records.
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We just heard Mint Jewelup by the Hudson the Lang Orchestra,
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recorded in New York City, June the twenty ninth, nineteen
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thirty six. I'm Jeff Presler, and you're listening to the one,
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the only, the original Make Believe Ballroom, broadcasting it on
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the radio almost continuously since nineteen thirty five, one of
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the oldest and longest running musical programs. And in my
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ballroom iteration, I specialize in jazz from the thirties and forties,
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sometimes going under the fence to the nineteen twenties, and
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sometimes jumping over the fence to delve into the early fifties.
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And speaking of delving, I want to play a few
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records that featured the jazz organ. Yes, indeed the organ.
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I think the most popular pure jazz organist had to
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be Milt Hearth, who was a proponent of the ham
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and Oregon from the day it was released to the
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public in nineteen thirty five. So Milt is known as
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a forefather of the Hammond, his most popular work coming
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with his own trio, the Milt Hearth Trio. That group
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formed in nineteen thirty seven with the wonderful Willie the
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Lion Smith on the piano and drummer O'Neil Spencer. Those two,
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along with Milt, formed the trio. The trio became a
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quartet with the addition of Teddy Bunn, the Great Guitar Player,
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in April of nineteen thirty eight. Let's play one by
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Milt Hearth and his Hammond Organ.
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No movie.
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S so.
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B B.
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From Decca Records, Rockin' in Rhythm the Milt Hearth Trio
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Milt on the Hammond Organ, Willie the Lion Smith playing
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the piano, and drummer O'Neil Spencer, recorded in New York City,
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September the thirteenth, nineteen thirty eight. If I'm not mistaken,
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Duke Ellington wrote that song stand by. Let me just
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take a look so I could confirm that yes, indeed,
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do Ellington written rocking and rhythm. Let's now enjoy another
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jazz organist Ba.
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Ba ba.
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Glenn Hartman and his Hammond five lee Castle playing the trumpet,
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the great Luster, young tenor, sax and clarinet, Freddie Green
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the guitar, and Joe Jones on the drums, and the
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number was upright. Organ blues recorded on Columbia Records back
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in nineteen thirty nine. I'm Jeff Bresler here in the
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Crystal studio and we are enjoying a little jazz via
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the Hammond organ. I think an organ officionado that I
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am about to play might surprise you. We all know
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Fats Waller for the piano, which he actually started to
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play when he was only six years old. Now he
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was a quick learner, because Fats grad you waited to
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the organ at ten years old and became the regular
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organist every Sunday at his father's church in Harlem. Fats's
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father was a part time pastor. Fats, throughout his career
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had de fond memories of the organ, his parents and
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the church, and he did record some organ tunes during
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his career. So here is one by Fats. You may
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be listening for the first time ever in your life
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to Fats Waller on the Hammond organ.
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It's let's take a boat two from you to.
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Let's take a plane to Saint Paul. Let's take a
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kayak quincy a knight. Yes, let's get away from it all.
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Let's take a trip in the trail. Uh, no need to.
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Come back at all.
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Let's take a powder.
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That's a good runout powder of the boss of a child.
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Let's get away from it all.
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Travel around from town to town, visit every state. I repeat,
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I love you sweet in all the.
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Forty Let's go again to Nightagro. This time we'll look
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at a fall. Let's leave our deer, get out of
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our root deer. Let's get away from it all.
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From Bluebird Records. Let's get Away from it All. Fats
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Waller and his Rhythm recorded on March the twentieth, nineteen
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forty one, in New York City. So, folks, a little
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tribute to the use of the Hammond organ in the
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jazz sounds of the nineteen thirties and forties. In addition
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to Fats, Milt Hearth and Glenn Hardman. I also want
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to add Count Basie, while Bill Davis and Milton Buckner
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to that list of proponents of the organ in jazz.
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Who do you think is coming to town?
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You'll never guess you lovable hustle evening round, mister Rodneys.
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What if the rain comes battery down?
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My heaven is.
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Blue hand of sea sending me eveny Brown, Miss Browney,
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I know I f filion, but gold show am. Don't
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you all get you familiar? Why do you think it's
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coming down? Just waiting you see? Lovable little Miss Brown is.
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Many the thing?
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Yes Sha.
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Again?
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From Brunswick Records, Miss Brown to you a little early
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Billie Holiday. Teddy Wilson Orchestra, recorded in New York City,
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July the second, nineteen thirty five, and many people consider
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Teddy Wilson to be the definitive jazz pianist of the era.
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Some say, of all time? Why don't we listen to
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another by the Teddy Wilson Orchestra.
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An maybe you're hanything anything? You nothing? I don't think anything.
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Happen From Columbia Records. Exactly like you, Teddy Wilson Orchestra,
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recorded in New York City, June the twenty eighth, nineteen
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thirty nine. I'm Jeff Presler and this is the weekly
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edition of the Make Believe Ballroom, coming to you today
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from the Crystal Studio. Now, let's see what we have
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on the itinerary here. How about a little British novelty tune?
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Then a request from a listener. I was going to
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play last week but we ran out of time.
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The afternoon we.
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Are relayked to a running commentary on the international speedboat
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Baris from the coast of Blatchwall.
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Upon the knees.
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The competitors are just entering on the last leap.
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There's here.
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They are coming around the bar name quite clearly.
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Number nine is leading. They think it's number name.
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There's rather a lot of peys on the knees and they.
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Can't create the years.
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It does not the name number nine is making the peace.
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If it's Finnigan, look out, he's coming.
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What's happened to Finnegan?
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Something's happened to.
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Finnigan's fall out?
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Nos Inigan, he's out again, he's off again, he's on again,
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he's winning and it's Finnegan.
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Finnigan's one again.
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The winning man is Finnigan, no the ways.
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Speed boat Will speedboat Bill. He is a nable man,
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driverless speed, but like the bar he can Malcolm cam
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Bland men bag a smart missing the bar a fish bag.
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Cruising off the coast of mburn As speedboat.
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Saw a swimmer in distress on a road and told
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her in too short but through her back it was
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his mother in law speedboat Bill, speed boat Will.
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Speedboat Bill, what went a loning blong? She told him
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to say that she was fun.
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Bill said, staff of morere and come with me and
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locked her in the cabin and went off to seat.
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Speak out film was running My Mind's Home, not ofly
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to ridden in the home because I told him he
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had taught her stopped. Bill was in my fairite and
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the wa and rock speak Out film was going for
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us when a lovely mermaid fascinated him. She pulled him
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down beneath the waits with joy, and he quite mild
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the sake of woundering boy.
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The river policemen.
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Making Bill, I know you got a half two sirens
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