May 1, 2026
Make Believe Ballroom 5/1/26 Edition
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.
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 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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