Make Believe Ballroom 5/1/26 Edition

0:12 It's make Believe Ballroom time. Put all your cares away. All the bands are here to bring good cheer your way. It's make Believe ball time and free to everyone. It's no time to friend your Dalis said Bobs. Close your eyes. And as you lie in. Your solitude, your. Favorite bands are on the stands and mister Miller, but you're in the wood. Its Make Believe ballom time.

0:56 Are a sweet romance is to make Come on jo the last dass last. Hello world, I'm Jeff Bresler, turning on the lights of the Make Believe Ballroom and welcoming you into my Crystal studio for another program of classic big band music from the nineteen thirties and forties. Please get ready as I play for you some amazing jazz, swing, blues, and boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom, broadcasting almost continuously since nineteen thirty five. And welcome, Welcome, Welcome, one and all into the Crystal Studio, and thanks so much for joining me today. Let's start off with a Glenn Miller tune Glenn Millerton that I think has well had some personal distinction for mister Miller.

2:53 Laying Anything Yeah.

5:08 Recorded on April twenty eighth, nineteen forty on Bluebird Records, the Walter Donaldson standard My Blue Heaven Glenn Miller and his Orchestra, And you know, I think, well Glenn Miller on the trombone, going head to head, say with Jack T. Garden and Tommy Dorsey would finish third. But on this rendition of My Blue Heaven, the record does contain what I consider to be the best Glenn Miller trombone solo of his career. Why don't we listen to another Glenn Miller piece? And while that is playing, Since I mentioned Jack T. Garden and Tommy Dorsey's prowess on the trombone, it would only be fitting that I feature a record by each of them. And while I search for those two said records, here's Glenn Miller again.

7:09 Why hello that Texas? What you say I'll every little thing. With you today? Well, all right, I reckon, I feel pretty bad. I just got a letter from my gal down there, down where, down there? Where's there? Where's there? My gal's down home in Texas. Don't give me that stuff, you do? All right? Why I see you with a different chick, every night. Now, I'm not a bad guy. I won't mention any names. But what's the story with you and the dames? Well, Glenn, I guess I do do pretty well. But it's really not an awful lot that I could tell. My father was a pretty sharmcat this day, and says he used to Gordon mare in the old fashioned way. Why that old fashioned stuff wouldn't stand a chance in the hustle, in the bustle of modern romance. Oh it wouldn't. Huh, Oh, well you'll find out. I'll show you just what I'm talking. About, bug warman.

7:49 They didn't have no every planes, they didn't have no streamline trains, but they had lonely country lanes. When Paul was Gordon. They didn't have. No Redsey bar Betsy drings and Cabby yards, but they had lots of moon and stars. When Paul West Gordon mall, they didn't have. No commentator with the news broadcast. They'd lesson is on the party line and get their news home most as fast. They didn't have no electric. Lanes, just my lamps. It's mooning night. It's telling all they did all right. When Paul West Gordon More. Now all you say is true, I guess, but there must be more to your success.

8:31 Have you told all Texas? No, they're just one thing. I got on ball. He didn't have a saxophone. When he courted Mall. It's a funny thing about the goals today. They go for a guy that can swing and swing out Texas. I think you got something there, something where, something right there. So go on side ball, Okay, get going on. I'm going sardballing.

9:13 From a December thirtieth, nineteen thirty eight radio remote from the Paradise Restaurant in New York City, Glenn Miller, Tech Spineke and the Orchestra with when Pa was courting Ma. On the radio, not from the Paramount Restaurant, but from the Crystal Studio, you're listening to the weekly edition of The Make Believe Ballroom. And before that remote, I promised a couple of solos by Miller contemporaries Jack T. Garden and Tommy Dorsey. Let's start with Jack T. Garden on

12:42 Capitol Records. Jack T. Guarden wonderful trombone solo with the Dixie Land themed Doctor Jazz. And in my haste to get that one ready for you, I did not get the date of recording, but who needs the exact day. Just the fact that we're listening to a wonderful recording around eighty years old speaks for itself. And now let's listen to a true sweet spot song for Tommy Dorsey's trombone and I promise I will give you the exact height of recording for this one, since I have a few more minutes to research that out.

14:20 Telling me dad.

15:02 Last album the album an album.

16:24 Tommy Dorsey and his Orchestra recorded on July the first, nineteen forty seven and released by RCA Victor. And what more a fitting name than Trombone Ology. You know, I always like to pair back to back recordings from Jimmy and Tommy Dorsey, and I will do that now. I opened the show with My Blue Heaven by Glenn Miller, and I mentioned that it was written by Walter Donaldson. Walter was a prolific songwriter. And here is an early Donaldson written piece made famous by Al Jolson, reinterpreted here by Jimmy Dorsey.

18:00 Say that they have nothing. Ha.

20:56 Jimmy Dorsey and his Orchestra with the big band version of the standard Carolina in the Morning, composed by Walter Donaldson with lyrics by the legendary Gus Kahn, first published in nineteen twenty two and eventually becoming a swing era staple for Dorsey's ensemble. Was written in twenty two and recorded by Jimmy Dorsey in that version on August fifteenth, nineteen hundred and thirty nine. I'm Jeff Bresler, and you're listening to the one, the only, the original Make Believe ballroom broadcasting almost continuously since Martin Block took to the airwaves on w NEW radio in New York City in February of nineteen thirty five. Let's spin another disc than a listener's email.

22:07 Heading far the station with the pack on my back and tied the transportation in the back of a hat. I love to hear the rhythm of the click clack, and hear the lonesome whistle, see the smoke from the stack and pale around democratic fellow's name, Mack, So take me right back to the track. And Jack choot choo, choot chew your boo, get boo boo, boo boo boo, get choot chew. Cheot chew your boo. Get take me right back to the track. Jack, you reach your destination but the last and I like you need some compensation to get back into black.

22:57 You take him on the paper from the top of the time and read the situation from the front to the back. The on the job that open needs a man with a knife supported right back in the rack. Jack, shoot chew choot chew che booget boo boo boo boo boo get chew chew chew ju chi boo get take me right back to the track. Jack, going to.

23:48 Settle down by the railroad track. Lived the life of Riley in the beating down shack some whin or here a whistle, liking people through the crack and watch the train of rolling when smalling the jack, I just love the rhythm of the click clack. So take me right back to the track. Chat cheot chuo cheot ju ju booget woo woo woo woo Ja booget choot chuo chew ju ju booget. Take me right back to the track, Jack, Take back to the track. Jet.

24:30 Louis Jordan's spent a remarkable eighteen weeks at number one in the Rhythm and Blues category with this memorable million seller we just heard. It also reached top ten on the pop sales, jukebox and radio airplay charts from Decca Records. Choot Chew Cheboogie by Louis Jordan and his Timpany five, recorded back in nineteen forty six. You know what, I'll get to that listener's email that I promised in just a moment. But how can I not play after that? One of my favorite trained songs. Of all time?

25:29 Do you hear that whistled down the line? I figured that it's as number four, and she's the only one that'll sound that way on the addresent Peak and Santa Fe. See the old. Smoke rising round the bend. I reckon that you knows she's going to meet a friend. Folks around these parts get the time of day from the addressent to Peak and Santa Fe. Here's your come. Ahead, Jim, you better get the rig.

26:10 She's got a list of passengers that's pretty big, and they'll all want lifts to Brown's Hotel, because lots of them can traveling for quite a spell all the way from Philipdelphi on the Atchison. The Big and the Santa Field all. Chug chug Chugger. Chubby chug chug, chugger ladder rep ladder Rep. Mister engineer, Gotta gold, gotta go far away from here, while the.

26:52 Man at the fire shovels on the gold stick. Your head out the cab, watching the drive and roll, see the towns and the roads. Door. It's badly well laram albuquerkie high yes to read here we. Are going all away lot sequen Telli in California. On the accent to beg and Santa Fe on the accent to be.

27:37 Got, and Santa Fe here she comes. Here, Jimmy, Patty, get to read. She's got a. List of passengers that's pretty big, and they'll all on the lists to Browns, because lots of them and traveling for. Quite a. On the Atchinson Topeka and Santa Fe. Written by Johnny Mercer and Harry Warren, sung by Johnny Mercer and the Pied Pipers Orchestra conducted by Paul Weston. That was a song from the movie The Harvey Girls, which starred Judy Garland, recorded on Mercer's own Capitol Record label back in nineteen forty five. I'm Jeff Bresler and from the Crystal Studio.

28:40 You're listening to the weekly edition of The Make Believe ball Room before I literally got sidetracked by train songs. I promised an email from a listener and I'm looking. I have a second email. Maybe we can do two emails in a row. The first email, I assume it's due to the fact that we featured a reunion between Duke Ellington and Louis Armstrong last week on the show. The email is from Carol K. A. R. L. And it reads, good morning, please play something from Louis Armstrong, thanks much and good work. And I thank you Carol, And here is a good work from Louis Armstrong, a work that is one of my all time Armstrong favorites.

30:08 All chocolate trump. That's me because my hair is clearly, just because my teeth are really just because I always well a smile, like the dress up and the Ladies style, because I'm glad I'm living. I take troubles all with a smile. Just because my color shading different. Maybe that's why they called me don't be bitter but MoMA.

30:53 But it then my hairy's good. Oh my dia par j began old jo it it doesn't want no, no, oh, I did it that it is oh. Oh better that by confition.

32:51 From Okay Records. Shine by Louis Armstrong and his Sebastian New Cotton Club Orchestra. Vocal by Louie we Armstrong, recorded in Los Angeles, California, on March the ninth, nineteen thirty one. And to Carol, because you were so nice in writing to us with your request, another of my Armstrong favorites. Up in the. Morning, out on the jar.

33:34 White like the devil for my. But that lucky old son. Has nothing to do. But roll around heaven all day. Us with my woman child for my kids, sweat until I'm wrinkled in bray, while that lucky old sun has nothing to do but roll around heaven all day.

34:18 Good law up above, can't you know I'm finding. All in my eyes? Send down that cloud with the silver lining, Give me. To fable time, Show me that river take me across, And why all my troubles away. Lack that lucky old sunn.

35:00 I think to do. But roll around heaven. All day sing. Let me. Show me that river, take me across, and watch all my troubles away.

35:46 Like that lock your son. Give me nothing to do. But roll around. Around A vocal by Louis Armstrong, no trumpet, no Louis orchestra on Deco Records, recorded back in nineteen forty nine.

36:27 We just had the pleasure to listen to that lucky old son Gordon Jenkins and his orchestra and chorus. No offense to the chorus, but I think that record would have been much better if it was just a pure Louis Armstrong solo sands the chorus, very powerful song. I really didn't think it needed the backup. What you do need, though, is the email for this program so I can read and relay your comments and requests to our listeners. I'm Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroom Radio dot com. I said that I suspect, and I might be wrong, but suspect that Carol asked for an Armstrong recording due to the Satchmo Duke performance from last week via the Ed Sullivan program. And I suspect that this next request might have to do with the Dessiarnez recording with the Andrews Sisters I played a few weeks back. The record's name was Old Don Juan.

37:41 If you recall so, let's peruse that email. It reads, Dear Jeff, longtime listener to the Make Believe Ballroom. I go all the way back to the William B. Williams days as the DJ. There is a song that Charlie Barnett recorded, a Cuban song. I can't remember the vocalist. I know not many clues, but I also know you will be able to pull it out of one of your dusty crates. Thanks. That's signed Arnold Stern, who listens in New York, and Arnold, I know from what you speak.

39:06 Ther comebooks are quite aware of something in the Harlem Mayor a rhythm with a kind of bed they'd never heard from Cuban pe There came to Harlem's door one day, a Cuban then with something new to say. When they began to play, they played the Cuban burge war games. Their music held a new daylight because they had the roombo orrhythm writer, just like Havana. Still it was a. Cuban bugey wargame. It began when they heard a band from Dixie Land me every maid wanted to incorporate the e be straight ain't be so. Now they have a figure fine and what they play is really on the line.

40:00 It's all combined and it comes out of Cuban Boogey Bogie.

40:54 From Bluebird Records with Charlie Barnett and his orchestra. We just heard Cuban Buggy Judy Ellington vocal recorded back in nineteen thirty nine, and Judy Judy Ellington had a great voice, but well, unfortunately had a career that didn't match. She certainly had her moment of fame back in nineteen thirty nine. She in my estimation, was in the right place at the right time, and being in the right place at the right time found her in the national spotlight when Charlie Barnett's band broke out as one of the major swing orchestras in the country and she was hired as the vocalist. Judy Ellington was unable to follow up on that popularity, however, that covered nineteen thirty nine and she started to quickly drift into obscurity after leaving the band as band dynamics started to change in nineteen thirty nine four where Charlie, she and a few other band members moved on, including the great clarinetist Tommy Reynolds. She joined his band but that lasted for less than a year, and that was pretty much her career. Let's hear one more by Judy Ellington and oh yeah, by the way, Judy was not related to Duke Ellington in any way.

43:29 Long ago swung a young gorilla up through the trees water kilodilla. Ever sends thanks that gorilla. Some like it hospital. Later on little mister Nero down in Rome. He was quite a hero. Ever send thanks to mister Nero. Some like it hot. When a Ruseves went, the community spent using a fted rhythm, perish with him. No no, no, no no, I should say nothing. Everywhere you can find the Bibles nowadays, people falling jiva, thanks you go. Senders arrivals. Some like it Hot.

44:51 From Bluebird Records with Charlie Barnett and his orchestra. Judy Ellington vocals. Some like It Hot. Recorded in New York City back in nineteen thirty nine. I'm Jeff Bresler. This is to make believe Ballroom. I'm in the Crystal studio regaling you with the collection of seventy eight RPM records and radio remotes. And I do that each and every week here on the show.

46:16 I may and anything, didn't anything.

47:37 They That was Johnny Hodges and his Orchestra with Queen Bess, recorded for Victor Records on November the second, nineteen forty in Chicago, Illinois. Johnny, one of the alto sax greats, is best known for solo work with a gentleman. I just mentioned Duke Ellington. He played lead alto in the seventies for the Duke. I think he had his own orchestra for a few years, if I'm not mistaken, in the early fifties, but that was a pretty quick stint and he ultimately went back to Duke. I would say that, along with Benny Carter in the nineteen thirties especially, Hodges has to be considered to be one of the definitive alto saxophone players of the entire big band era. Now,

49:09 in the record we just heard, Johnny and his Orchestra were in actuality the front name for one of the many Duke Ellington small bands. Small band in that record we just heard, but certainly big music. So why don't we play one more from Johnny Hodges.

50:21 Play and the Son of the Said and I Love. The Day the Bat.

51:28 Nice Buttering, recorded in New York City, on March the twenty eighth, nineteen thirty eight Rendezvous with Rhythm via Vocalian Records, Johnny Hodges and his orchestra under the umbrella of Duke Ellington, and I gotta look this up. Maybe I'll look it up during the next record we play. I'm almost sure he was one of the prominent Ellington band members. I'm talking about Johnny Hodges, who was featured in Benny Goodman's classic nineteen thirty eight Carnegie Hall Consert. I think we

53:02 have time to play one more record, at least before we close up the Crystal studio, and let's see what I can spend.

54:06 Bring it high and bring it mold, bring it everywhere you go. Oh sing it, yeah, man, swing it now, bringet left, night, swing it right, bring. It morning noon, and oh. Yes, sing it now. Harmony is a melody. It's let him wing. Don't you know that if you don't bring it it don't mean nothing. Bring it up, mad, swing it. Bring it all around. Oh sing it, yeah it.

55:13 Just this.

56:22 I mentioned the equally great alto saxophonist Benny Carter a few moments ago, a contemporary of Johnny Hodges. So for you, I just played from Columbia Records. Swing It by Benny Carter and his Orchestra Vocal by Benny Carter, recorded in New York City, March the fourteenth, nineteen thirty three. In folks, we are totally out of time. Thanks so much for joining me today to reach me. I'm Jeff at Make Believe Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroomradio dot com. I want to take a moment to thank our syndicators and distributors for offering the Make Believe Ballroom cost free to commercial, free, public, community, and university radio stations across the US, as well as in the United Kingdom.

57:14 They are the Public Radio Exchange PRX, the PACIFICA Network, and Global Community Radio. The program's flagship affiliate is Jazz ninety point one WGMC in Rochester, New York. The Ballroom is also heard on your favorite podcast provider or Going to Make Believe Ballroom dot com. So friends, until next week, this has been Jeff Bresler