May 1, 2026

Make Believe Ballroom 5/1/26 Edition

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Show Notes
Transcript

On this week's edition of the Make Believe Ballroom, hosted by Jeff Bressler, Glenn Miller's greatest trombone solo, trombones of Teagarden and Dorsey, train songs, a short-lived Charlie Barnet vocalist, and more records and reminiscences from the big band and jazz era.

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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 ball time and free to everyone. It's

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no time to friend your Dalis said Bobs.

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Close your eyes.

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And as you lie in.

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Your solitude, your.

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Favorite bands are on the stands and mister Miller, but

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you're in the wood. Its Make Believe ballom time.

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Are a sweet romance is to make Come on jo

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the last dass 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 music from

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the nineteen thirties and forties. Please get ready as I

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play for you some amazing jazz, swing, blues, and boogie

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woogie favorites. Folks, you're listening to the Make Believe Ballroom,

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broadcasting almost continuously since nineteen thirty five. And welcome, Welcome, Welcome,

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one and all into the Crystal Studio, and thanks so

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much for joining me today. Let's start off with a

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Glenn Miller tune Glenn Millerton that I think has well

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had some personal distinction for mister Miller.

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Laying Anything Yeah.

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Recorded on April twenty eighth, nineteen forty on Bluebird Records,

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the Walter Donaldson standard My Blue Heaven Glenn Miller and

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his Orchestra, And you know, I think, well Glenn Miller

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on the trombone, going head to head, say with Jack T.

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Garden and Tommy Dorsey would finish third. But on this

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rendition of My Blue Heaven, the record does contain what

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I consider to be the best Glenn Miller trombone solo

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of his career. Why don't we listen to another Glenn

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Miller piece? And while that is playing, Since I mentioned

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Jack T. Garden and Tommy Dorsey's prowess on the trombone,

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it would only be fitting that I feature a record

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by each of them. And while I search for those

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two said records, here's Glenn Miller again.

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Why hello that Texas?

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What you say I'll every little thing.

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With you today?

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Well, all right, I reckon, I feel pretty bad.

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I just got a letter from my gal down there,

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down where, down there?

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Where's there?

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Where's there?

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My gal's down home in Texas. Don't give me that stuff,

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you do?

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All right?

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Why I see you with a different chick, every night.

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Now, I'm not a bad guy.

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I won't mention any names.

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But what's the story with you and the dames?

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Well, Glenn, I guess I do do pretty well. But

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it's really not an awful lot that I could tell.

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My father was a pretty sharmcat this day, and says

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he used to Gordon mare in the old fashioned way.

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Why that old fashioned stuff wouldn't stand a chance in

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the hustle, in the bustle of modern romance.

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Oh it wouldn't.

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Huh, Oh, well you'll find out.

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I'll show you just what I'm talking.

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About, bug warman.

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They didn't have no every planes, they didn't have no

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streamline trains, but they had lonely country lanes.

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When Paul was Gordon.

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They didn't have.

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No Redsey bar Betsy drings and Cabby yards, but they

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had lots of moon and stars.

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When Paul West Gordon mall, they didn't have.

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No commentator with the news broadcast. They'd lesson is on

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the party line and get their news home most as fast.

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They didn't have no electric.

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Lanes, just my lamps.

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It's mooning night. It's telling all they did all right.

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When Paul West Gordon More.

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Now all you say is true, I guess, but there

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must be more to your success.

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Have you told all Texas?

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No, they're just one thing.

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I got on ball.

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He didn't have a saxophone.

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When he courted Mall.

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It's a funny thing about the goals today. They go

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for a guy that can swing and swing out Texas.

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I think you got something there, something where, something right there.

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So go on side ball, Okay, get going on. I'm

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going sardballing.

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From a December thirtieth, nineteen thirty eight radio remote from

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the Paradise Restaurant in New York City, Glenn Miller, Tech

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Spineke and the Orchestra with when Pa was courting Ma.

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On the radio, not from the Paramount Restaurant, but from

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the Crystal Studio, you're listening to the weekly edition of

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The Make Believe Ballroom. And before that remote, I promised

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a couple of solos by Miller contemporaries Jack T. Garden

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and Tommy Dorsey. Let's start with Jack T. Garden on

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Capitol Records.

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Jack T.

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Guarden wonderful trombone solo with the Dixie Land themed Doctor Jazz.

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And in my haste to get that one ready for you,

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I did not get the date of recording, but who

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needs the exact day. Just the fact that we're listening

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to a wonderful recording around eighty years old speaks for itself.

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And now let's listen to a true sweet spot song

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for Tommy Dorsey's trombone and I promise I will give

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you the exact height of recording for this one, since

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I have a few more minutes to research that out.

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Telling me dad.

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Last album the album an album.

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Tommy Dorsey and his Orchestra recorded on July the first,

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nineteen forty seven and released by RCA Victor. And what

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more a fitting name than Trombone Ology. You know, I

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always like to pair back to back recordings from Jimmy

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and Tommy Dorsey, and I will do that now. I

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opened the show with My Blue Heaven by Glenn Miller,

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and I mentioned that it was written by Walter Donaldson.

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Walter was a prolific songwriter. And here is an early

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Donaldson written piece made famous by Al Jolson, reinterpreted here

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by Jimmy Dorsey.

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Say that they have nothing. Ha.

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Jimmy Dorsey and his Orchestra with the big band version

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of the standard Carolina in the Morning, composed by Walter

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Donaldson with lyrics by the legendary Gus Kahn, first published

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in nineteen twenty two and eventually becoming a swing era

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staple for Dorsey's ensemble. Was written in twenty two and

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recorded by Jimmy Dorsey in that version on August fifteenth,

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nineteen hundred and thirty nine. I'm Jeff Bresler, and you're

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listening to the one, the only, the original Make Believe

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ballroom broadcasting almost continuously since Martin Block took to the

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airwaves on w NEW radio in New York City in

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February of nineteen thirty five. Let's spin another disc than

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a listener's email.

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Heading far the station with the pack on my back

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and tied the transportation in the back of a hat.

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I love to hear the rhythm of the click clack,

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and hear the lonesome whistle, see the smoke from the

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stack and pale around democratic fellow's name, Mack, So take

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me right back to the track.

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And Jack choot choo, choot chew your boo, get boo boo,

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boo boo boo, get choot chew.

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Cheot chew your boo.

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Get take me right back to the track.

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Jack, you reach your destination but the last and I

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like you need some compensation to get back into black.

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You take him on the paper from the top of

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the time and read the situation from the front to

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the back. The on the job that open needs a

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man with a knife supported right back in the rack.

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Jack, shoot chew choot chew che booget boo boo boo

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boo boo get chew chew chew ju chi boo get

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take me right back to the track.

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Jack, going to.

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Settle down by the railroad track. Lived the life of

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Riley in the beating down shack some whin or here

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a whistle, liking people through the crack and watch the

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train of rolling when smalling the jack, I just love

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the rhythm of the click clack.

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So take me right back to the track.

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Chat cheot chuo cheot ju ju booget woo woo woo

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woo Ja booget choot chuo chew ju ju booget.

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Take me right back to the track, Jack, Take back

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to the track.

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Jet.

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Louis Jordan's spent a remarkable eighteen weeks at number one

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in the Rhythm and Blues category with this memorable million

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seller we just heard. It also reached top ten on

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the pop sales, jukebox and radio airplay charts from Decca Records.

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Choot Chew Cheboogie by Louis Jordan and his Timpany five,

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recorded back in nineteen forty six. You know what, I'll

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get to that listener's email that I promised in just

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a moment. But how can I not play after that?

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One of my favorite trained songs.

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Of all time?

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Do you hear that whistled down the line?

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I figured that it's as number four, and she's the

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only one that'll sound that way on the addresent Peak

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and Santa Fe.

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See the old.

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Smoke rising round the bend. I reckon that you knows

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she's going to meet a friend. Folks around these parts

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get the time of day from the addressent to Peak

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and Santa Fe.

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Here's your come.

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Ahead, Jim, you better get the rig.

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She's got a list of passengers that's pretty big, and

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they'll all want lifts to Brown's Hotel, because lots of

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them can traveling for quite a spell all the way

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from Philipdelphi on the Atchison.

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The Big and the Santa Field all.

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Chug chug Chugger.

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Chubby chug chug, chugger ladder rep ladder Rep.

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Mister engineer, Gotta gold, gotta go far away from here,

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while the.

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Man at the fire shovels on the gold stick. Your

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head out the cab, watching the drive and roll, see

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the towns and the roads.

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Door.

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It's badly well laram albuquerkie high yes to read here we.

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Are going all away lot sequen Telli in California.

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On the accent to beg and Santa Fe on the

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accent to be.

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Got, and Santa Fe here she comes.

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Here, Jimmy, Patty, get to read.

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She's got a.

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List of passengers that's pretty big, and they'll all on

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the lists to Browns, because lots of them and traveling for.

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Quite a.

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On the Atchinson Topeka and Santa Fe. Written by Johnny

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Mercer and Harry Warren, sung by Johnny Mercer and the

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Pied Pipers Orchestra conducted by Paul Weston. That was a

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song from the movie The Harvey Girls, which starred Judy Garland,

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recorded on Mercer's own Capitol Record label back in nineteen

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forty five. I'm Jeff Bresler and from the Crystal Studio.

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You're listening to the weekly edition of The Make Believe

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ball Room before I literally got sidetracked by train songs.

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I promised an email from a listener and I'm looking.

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I have a second email. Maybe we can do two

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emails in a row. The first email, I assume it's

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due to the fact that we featured a reunion between

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Duke Ellington and Louis Armstrong last week on the show.

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The email is from Carol K. A. R. L. And

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it reads, good morning, please play something from Louis Armstrong,

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thanks much and good work. And I thank you Carol,

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And here is a good work from Louis Armstrong, a

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work that is one of my all time Armstrong favorites.

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All chocolate trump. That's me because my hair is clearly,

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just because my teeth are really just because I always

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well a smile, like the dress up and the Ladies style,

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because I'm glad I'm living. I take troubles all with

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a smile. Just because my color shading different.

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Maybe that's why they called me don't be bitter but MoMA.

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But it then my hairy's good. Oh my dia par

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j began old jo it it doesn't want no, no, oh,

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I did it that it is oh.

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Oh better that by confition.

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From Okay Records. Shine by Louis Armstrong and his Sebastian

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New Cotton Club Orchestra. Vocal by Louie we Armstrong, recorded

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in Los Angeles, California, on March the ninth, nineteen thirty one.

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And to Carol, because you were so nice in writing

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to us with your request, another of my Armstrong favorites.

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Up in the.

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Morning, out on the jar.

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White like the devil for my.

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But that lucky old son.

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Has nothing to do.

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But roll around heaven all day.

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Us with my woman child for my kids, sweat until

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I'm wrinkled in bray, while that lucky old sun has

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nothing to do but roll around heaven all day.

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Good law up above, can't you know I'm finding.

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All in my eyes?

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Send down that cloud with the silver lining, Give me.

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To fable time, Show me that river take me across,

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And why all my troubles away.

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Lack that lucky old sunn.

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I think to do.

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But roll around heaven.

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All day sing. Let me.

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Show me that river, take me across, and watch all

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my troubles away.

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Like that lock your son.

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Give me nothing to do.

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But roll around.

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00:36:00.559 --> 00:36:22.800
Around A vocal by Louis Armstrong, no trumpet, no Louis

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orchestra on Deco Records, recorded back in nineteen forty nine.

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We just had the pleasure to listen to that lucky

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old son Gordon Jenkins and his orchestra and chorus. No

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offense to the chorus, but I think that record would

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have been much better if it was just a pure

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Louis Armstrong solo sands the chorus, very powerful song. I

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really didn't think it needed the backup. What you do need, though,

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is the email for this program so I can read

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and relay your comments and requests to our listeners. I'm

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Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at

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00:37:06.400 --> 00:37:11.599
MakeBelieve Ballroom Radio dot com. I said that I suspect,

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and I might be wrong, but suspect that Carol asked

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for an Armstrong recording due to the Satchmo Duke performance

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from last week via the Ed Sullivan program. And I

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suspect that this next request might have to do with

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the Dessiarnez recording with the Andrews Sisters I played a

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few weeks back. The record's name was Old Don Juan.

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If you recall so, let's peruse that email. It reads,

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Dear Jeff, longtime listener to the Make Believe Ballroom. I

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00:37:51.559 --> 00:37:53.960
go all the way back to the William B. Williams

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days as the DJ. There is a song that Charlie

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00:37:58.320 --> 00:38:02.960
Barnett recorded, a Cuban song. I can't remember the vocalist.

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00:38:03.800 --> 00:38:07.239
I know not many clues, but I also know you

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will be able to pull it out of one of

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your dusty crates. Thanks. That's signed Arnold Stern, who listens

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00:38:16.039 --> 00:38:20.119
in New York, and Arnold, I know from what you speak.

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Ther comebooks are quite aware of something in the Harlem

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Mayor a rhythm with a kind of bed they'd never

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00:39:15.360 --> 00:39:20.039
heard from Cuban pe There came to Harlem's door one day,

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00:39:21.000 --> 00:39:24.480
a Cuban then with something new to say. When they

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00:39:24.679 --> 00:39:27.320
began to play, they played the Cuban burge war games.

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Their music held a new daylight because they had the

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roombo orrhythm writer, just like Havana.

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Still it was a.

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00:39:38.039 --> 00:39:44.280
Cuban bugey wargame. It began when they heard a band

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00:39:44.320 --> 00:39:50.800
from Dixie Land me every maid wanted to incorporate the

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00:39:50.920 --> 00:39:55.280
e be straight ain't be so. Now they have a

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00:39:55.360 --> 00:39:59.840
figure fine and what they play is really on the line.

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It's all combined and it comes out of Cuban Boogey Bogie.

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From Bluebird Records with Charlie Barnett and his orchestra. We

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00:40:58.239 --> 00:41:03.360
just heard Cuban Buggy Judy Ellington vocal recorded back in

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nineteen thirty nine, and Judy Judy Ellington had a great voice,

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but well, unfortunately had a career that didn't match. She

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certainly had her moment of fame back in nineteen thirty nine.

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She in my estimation, was in the right place at

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the right time, and being in the right place at

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the right time found her in the national spotlight when

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Charlie Barnett's band broke out as one of the major

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swing orchestras in the country and she was hired as

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00:41:38.480 --> 00:41:43.519
the vocalist. Judy Ellington was unable to follow up on

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that popularity, however, that covered nineteen thirty nine and she

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started to quickly drift into obscurity after leaving the band

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as band dynamics started to change in nineteen thirty nine

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four where Charlie, she and a few other band members

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moved on, including the great clarinetist Tommy Reynolds. She joined

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00:42:08.840 --> 00:42:11.599
his band but that lasted for less than a year,

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and that was pretty much her career. Let's hear one

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more by Judy Ellington and oh yeah, by the way,

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Judy was not related to Duke Ellington in any way.

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Long ago swung a young gorilla up through the trees

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water kilodilla. Ever sends thanks that gorilla.

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Some like it hospital.

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Later on little mister Nero down in Rome.

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He was quite a hero.

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00:43:44.320 --> 00:43:46.239
Ever send thanks to mister Nero.

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Some like it hot.

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When a Ruseves went, the community spent using a fted rhythm,

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perish with him.

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No no, no, no no, I should say nothing.

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Everywhere you can find the Bibles nowadays, people falling jiva,

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00:44:04.199 --> 00:44:04.679
thanks you go.

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00:44:05.039 --> 00:44:06.320
Senders arrivals.

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Some like it Hot.

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00:44:51.360 --> 00:44:55.119
From Bluebird Records with Charlie Barnett and his orchestra. Judy

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00:44:55.199 --> 00:44:56.199
Ellington vocals.

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Some like It Hot.

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00:44:58.800 --> 00:45:03.079
Recorded in New York City back in nineteen thirty nine.

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I'm Jeff Bresler. This is to make believe Ballroom. I'm

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00:45:06.360 --> 00:45:09.559
in the Crystal studio regaling you with the collection of

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00:45:09.679 --> 00:45:13.840
seventy eight RPM records and radio remotes. And I do

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00:45:14.079 --> 00:45:16.719
that each and every week here on the show.

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00:46:16.840 --> 00:47:29.199
I may and anything, didn't anything.

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00:47:37.480 --> 00:48:19.199
They That was Johnny Hodges and his Orchestra with Queen Bess,

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00:48:19.639 --> 00:48:23.760
recorded for Victor Records on November the second, nineteen forty

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00:48:23.880 --> 00:48:29.159
in Chicago, Illinois. Johnny, one of the alto sax greats,

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00:48:29.480 --> 00:48:33.320
is best known for solo work with a gentleman. I

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00:48:33.599 --> 00:48:37.800
just mentioned Duke Ellington. He played lead alto in the

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00:48:37.920 --> 00:48:41.119
seventies for the Duke. I think he had his own

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00:48:41.559 --> 00:48:45.199
orchestra for a few years, if I'm not mistaken, in

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00:48:45.360 --> 00:48:49.719
the early fifties, but that was a pretty quick stint

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00:48:49.840 --> 00:48:54.679
and he ultimately went back to Duke. I would say that,

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along with Benny Carter in the nineteen thirties especially, Hodges

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00:49:00.559 --> 00:49:03.280
has to be considered to be one of the definitive

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00:49:03.559 --> 00:49:09.000
alto saxophone players of the entire big band era. Now,

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00:49:09.159 --> 00:49:12.960
in the record we just heard, Johnny and his Orchestra

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00:49:13.280 --> 00:49:17.199
were in actuality the front name for one of the

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00:49:17.400 --> 00:49:22.079
many Duke Ellington small bands. Small band in that record

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00:49:22.239 --> 00:49:25.320
we just heard, but certainly big music. So why don't

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00:49:25.320 --> 00:49:29.320
we play one more from Johnny Hodges.

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Play and the Son of the Said and I Love.

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The Day the Bat.

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00:51:28.719 --> 00:52:27.920
Nice Buttering, recorded in New York City, on March the

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00:52:28.000 --> 00:52:34.320
twenty eighth, nineteen thirty eight Rendezvous with Rhythm via Vocalian Records,

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00:52:34.400 --> 00:52:39.039
Johnny Hodges and his orchestra under the umbrella of Duke Ellington,

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00:52:39.360 --> 00:52:43.000
and I gotta look this up. Maybe I'll look it

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00:52:43.079 --> 00:52:47.159
up during the next record we play. I'm almost sure

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00:52:47.320 --> 00:52:51.199
he was one of the prominent Ellington band members. I'm

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00:52:51.239 --> 00:52:55.360
talking about Johnny Hodges, who was featured in Benny Goodman's

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00:52:55.679 --> 00:53:02.280
classic nineteen thirty eight Carnegie Hall Consert. I think we

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00:53:02.440 --> 00:53:06.639
have time to play one more record, at least before

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we close up the Crystal studio, and let's see what

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00:53:11.280 --> 00:53:12.039
I can spend.

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00:54:06.840 --> 00:54:10.079
Bring it high and bring it mold, bring it everywhere

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00:54:10.320 --> 00:54:10.559
you go.

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00:54:11.360 --> 00:54:16.079
Oh sing it, yeah, man, swing it now, bringet left, night,

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00:54:16.159 --> 00:54:17.639
swing it right, bring.

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It morning noon, and oh.

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00:54:21.559 --> 00:54:23.199
Yes, sing it now.

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00:54:23.480 --> 00:54:27.920
Harmony is a melody. It's let him wing. Don't you

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00:54:28.079 --> 00:54:30.800
know that if you don't bring it it don't mean nothing.

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00:54:31.360 --> 00:54:32.840
Bring it up, mad, swing it.

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00:54:33.599 --> 00:54:34.800
Bring it all around.

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00:54:35.960 --> 00:54:39.039
Oh sing it, yeah it.

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00:55:13.360 --> 00:55:13.559
Just this.

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00:56:22.880 --> 00:56:27.760
I mentioned the equally great alto saxophonist Benny Carter a

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00:56:27.840 --> 00:56:31.800
few moments ago, a contemporary of Johnny Hodges. So for you,

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00:56:32.159 --> 00:56:36.920
I just played from Columbia Records. Swing It by Benny

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00:56:37.000 --> 00:56:40.880
Carter and his Orchestra Vocal by Benny Carter, recorded in

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New York City, March the fourteenth, nineteen thirty three. In folks,

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00:56:45.639 --> 00:56:48.679
we are totally out of time. Thanks so much for

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00:56:48.840 --> 00:56:52.559
joining me today to reach me. I'm Jeff at Make

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00:56:52.639 --> 00:56:58.079
Believe Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroomradio

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00:56:58.320 --> 00:57:00.840

Make Believe Ballroom 5/1/26 Edition

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