April 3, 2026
Make Believe Ballroom - 4/3/26 Edition
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On this week's edition of the Make Believe Ballroom, hosted by Jeff Bressler, Hawaiian swing, a bandleader with no biography, plus many more records, stories, and reminiscences from the big band era.
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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 Bombas. Close your
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eyes and visual lize in your solitude. Your favorite bands
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are on this dance.
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And mister Miller, but 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 it.
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Come on, Jo, last dance, Last, Hello world. I'm Jeff Bresler,
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turning on the lights of the Make Belief Ballroom and
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welcoming you into my Crystal studio for another program of
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classic big band music from the nineteen thirties and forties.
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Please get ready as I play for you some amazing jazz, swing, blues,
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and boogie woogie favorites. Folks, you're listening to the Make
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Believe Ballroom, broadcasting almost continuously since nineteen thirty five. And welcome, Welcome, Welcome,
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one and all into the Crystal Studio. Thanks so much
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for joining me today. I'm a little hungry so to
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get things underway, especially for you. If you enjoy these
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to accompany your hamburgers, I offer you this disc.
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Why she says that's no night, I said shot.
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I put it in my pocket. It is, and I
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lost it somewhere.
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My pup gave me a nickel to buy your pickle.
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Somehow I lost the nickel. That's why I'm crying.
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You knows I like psycles. He'll cay come pickle. If
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I don't find a nickel, I'll get up crying. I
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can't go home.
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Yeah, I can't stay away. If I should go, I
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mass to take my arm bake today.
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My pup gave me a nickel to buy your pickle.
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Somehow I lost the nickel, not a people. I can't
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go home.
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Yeah, I can't stay away. I should go ims to
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take my arm back today. Mother gave me a nickel.
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If I don't find that nickel, I'm in a bickle.
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From Bluebird Records, My pop gave me a nickel to
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buy a pickle. By Harlon Leonard and His Rockets vocal
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by Myra Taylor, arranged by the legendary Eddie Durham, recorded
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in Chicago, Illinois, July the fifteenth, nineteen forty sounded very
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chick webb Ella Fitzgerald like that arrangement. For Harlan Leonard.
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Harlon Leonard, the great band leader and clarinetist from Kansas City.
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Harlan led his own band for just a few years
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in the early nineteen forties. He was very popular, but
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with the war and well, I guess you combine it
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with changing tastes and music, Harlan folded the band for
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lack of profit. And you know, Harlan really did know
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about profit and losses because when he folded the band,
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he didn't stay in music. First, he worked in a bank,
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but the bulk of his career Harlan Leonard was an
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i RS agent. Here's another one by Harlan. This one
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a first time ever recording of a hit tune.
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I don't want to set this whirl on fire. I
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just want to start aflame in your heart.
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In my heart, I have but one desire and that
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wouldn't you know what they will do. I've lost all
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ambition for worldly acclaim. Just want to be the one
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you love and.
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With your admission that you've done a think I reads
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the gold I'm dreaming. I I don't want to set
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this wirlow fire. I just want to start a.
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Flame in your bar.
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Yes, sir, The first recording of this popular tune was
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a real swinger, not the ballad tempo love song that
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would eventually catch on a year and a half later
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to spend four weeks atop your hit parades, radio survey
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and become a standard for the ink spots we just
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heard on Bluebird Records. I don't want to set the
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World on fire. Harlon Leonard and his Rockets, vocal again
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by Myra Taylor, recorded in New York City, May the eleventh,
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nineteen forty. Harlan Leonard, I'm Jeff Pressler, and you're listening
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to the weekly edition of the Make Believe Ballroom. Why
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don't we now go from pickles in Harlan's first number
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two jelly Beans via Phil Harris.
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He's a Gurbstone cuty. His mama's bright end beauty. They
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call him jelly bean parts. He's hair, bring the veddal
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and clashes it down and scatters little jelly beans all
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around town. Why the boys all love him? They think
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he's a riot if you know what I mean. Won't
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drink that beef old beer wine, eats ice cream soldiers.
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But all the time I'm a Gerbstone beauty. Mama's fright
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and beauty. They call him jail Levan. I mean they
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call him jail Living. He's a Girbstone beauty, his mama's
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frid End beauty. They call him jelly Bean. Pots his
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hair bread the bed and then flashes him down, scatters
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little jelly beans all around town. Why the boys all
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love him? They think he's a riot. If you know
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what I mean, I won't drink that be vote beer wine.
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Just keeps that ice cream all the time of Girdlestone beauty,
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mama's frightened beauty. And they call him Jealsey Bean, I
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mean jelf.
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From the Vocalion label Jellybean. He's a curbstone qtie. They
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call him Jellybean. By Phil Harrison, his orchestra vocal by Phil,
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recorded in Los Angeles, California, December the seventeenth, nineteen thirty six.
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Well the turntable is hot. Let me spend one more
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than a listener's email, anything anything.
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Super when.
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From Victor Records, recorded in New York on July the
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twenty sixth, nineteen thirty nine. We just heard Glenn Miller
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and his orchestra with Glen Island Special. Mister Miller's ode
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to one of his stomping grounds, the Glen Island Casino,
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which was located in New Rochelle, New York, where he
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played so often and did so many radio remotes. Matter
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of fact, I think the Glen Island Casino was still
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in New Rochelle Catering Hall. If I'm not mistaken, I'm
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Jeff Pressler, and you're listening to the one, the only,
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the original Make Believe Ballroom and for you now, I
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am trying to find it here. It is an original
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email from a listener in Hawaii who listens to the program,
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a loyal listener on the radio. He is one Wilson
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Lee and Wilson in a long email, so I will
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not read a lot of it. But who in that
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email discusses a mutual friend we both have on Maui.
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But let me get to the cruxt of it. Let
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me find it, and here it is, He writes, I
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have attached to this email to MP three's of Hawaiian
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Jazz swaning. Yes it's true. Andy Lona was an iconic
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Hawaiian musician, composer, and bandleader. He led the group Andy
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Lona and His Islanders or audience might be surprised and
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delighted to know that Louis Armstrong recorded with Andy. I
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have attached that song along with another Lona Swing record,
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So thanks Wilson Lee for that email. I have also,
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under a separate cover, responded to some of your other questions.
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So as Wilson stated and sent me, Sachimo, did indeed
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go Hawaiian?
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Who gim I whom I all on the beach? Why
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giggy off o wahi is waiting for me with hot
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dog eyes and lovable charms on very sweet Hawaiian hospitality
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beneath the moon, strong, the long and life is just
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like a beautiful song when she whispers coming to my
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arms is just in old Hawaiian hospitality. And though my
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heart mays hop too, I know why when I say
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away o, my heart will drive to the thought coming
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by some day, and when my dream love comes true
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they're well then oh call le how for two all
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it blaha. My d is just in old Hawaiian hospitality,
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and so my heart, miss oubdu.
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I know when I sail away.
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How my heart would drive to the thuds coming back someday,
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and when my dream.
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Love come true, there will be ok.
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Alika, my dude.
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It's just Nowayian.
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Hospitality recorded on March the twenty fourth, nineteen thirty seven.
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We just heard Louis Armstrong with Andy Loona and His
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Islanders songs title Hawaiian Hospitality not recorded in Honolulu but
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in New York City. So well Louis Armstrong and Andy Lona.
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Now let me play the other MP three. Wilson Lee
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sent me this one and Andy long own a Hawaiian swinger.
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Wa wo.
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Lea.
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It's like like oh.
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Like comman up.
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Lay make it like lake.
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Oh don't.
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Like n nothing, Yeah like la.
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It's a little traditional Hawaiian music steal guitars and such
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and a little swing. And you just had Andy Lona
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and his Islanders with Hawaiian stomp recorded on Columbia Records
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August twenty ninth, nineteen thirty four. So thank you Wilson
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Lee and Maui for introducing us to Andy Lona and
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his Islanders. If you would like to reach me, like
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Wilson did, I'm Jeff at MakeBelieve Ballroom Radio dot Com.
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That's Jeff fun Make Believe Ballroom Radio dot Com.
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Well they do.
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They need they look at Mary. They get in Frank
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und seven Robles friend.
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From San Sam say se.
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Fa on Bluebird Records. We just enjoyed Taft Jordan and
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the Mob with Devil in the Moon, recorded in New
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York City, February the twenty second, nineteen thirty five and
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Taff Jordan was a long time trumpet player for Chick Webb,
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starting back in nineteen thirty three. He stayed with the
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band after chicks death when Ella Fitzgerald took over the reins,
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so Taft left in forty three. Spent ten years with
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Chick web but during that time he had the opportunity
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to cut four tunes in studio with the band that
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he called Taft Jordan and the Mob. Teddy Wilson playing
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the piano. Never led that band on stage anywhere, but
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some nice jazz from Taft Jordan. Let me play another record.
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Then a bandleader who you'll find absolutely no information on
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sounds like a dead air segment to me with nothing
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to say, but I will on the other side, indeed
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have plenty to say.
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Don't lap my hair, don't flap my fingers.
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I'm shutting like Bect, feeling like a millionnaire.
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Don't don't start you don't I'm shutting like Bect, feeling
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like a mallyonnaise.
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He said, you love me, you want to make the pies.
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Joy. You're telling by don't clap my hands, don't stap mo.
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Thing I'm struck like becomes feeling like a man. I'm
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gonna clap my hands. I'm onna tap mo linger I
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shout like he can't be.
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Like a man.
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Stop.
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I'm going to stop you with.
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All love me by looking at model.
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Me like a like an on the Bluebird label. I'm
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gonna clap my hands by Dolly Dawn and Her Down
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Patrol in Actuality George Hall and His Hotel Taft Orchestra
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vocal by Dolly, recorded in New York City, January the
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thirty first, nineteen thirty six. I'm Jeff Presler and this
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is the Make Believe Ballroom and now friends onto a
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band leader you will probably never find in any biography
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of the big band era. Let me play a record
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from the Bill Dodge Orchestra. Then a story about the man,
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or maybe I should say men behind the BANDA That
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was Bunny Berrigan and Manny Klein with the trumpets, Jack
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Jenny the trombone, Benny Goodman the clarinet, author Rolini the tenor, Sacks,
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Author Shutt the piano, Dick McGregor guitar, Artie Bernstein the bass,
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and Gene Croup of the drums, recorded as a transcription
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for the World Broadcasting Company in New York City back
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in early nineteen thirty four. The tunes name was Old Pappy.
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So well, hey, wait a minute, I didn't credit Bill Dodge.
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I named everybody else in the band. So what role
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did mister Dodge play on this record as the Bill
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Dodge Orchestra. The answer, folks, is simple, It was none.
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There was no Bill Dodge Bill Dodge Orchestra, or as
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many referred to it, Bill Dodge and His All Star
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Orchestra was a jazz ensemble best known for its legendary
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nineteen thirty four recordings featuring some of the most prominent
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musicians of the swing era. Who I just named you see,
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the Bill Dodge name was actually a pseudonym used for
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transcription recordings made in early nineteen thirty four, I think
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in March in April of nineteen thirty four in New
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York City. Now, these sessions are historically significant because they
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captured future jazz legends really just before they achieved worldwide fame.
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Particularly Benny Goodman. It's said that it was either Benny
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alone who conceived the idea of getting these then up
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and comers together to form Bill Dodge, while others say
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it was the brainchild of both Benny and Bunny Berrigan.
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But whichever version of the origins are true, it really
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doesn't matter. More importantly is that these historical pieces are
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still here to enjoy decades almost a century later. Let's
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enjoy another one from the Bill Dodge Orchestra.
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And sup as.
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A past.
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Bunny Berrigan, Mayny Kleine, Jack Jenny, Benny Goodman, author Rolini,
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