July 11, 2025
Make Believe Ballroom - 7/11/25 Edition
This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - an email from a 95 year old veteran who played in the Air Force Band, a song written for the legendary disc jockey Al Jarvis, a tip on how Jeff does some of his record research, Lenny from Down the Block's Record Pick of the Week—this and many more great songs and stories to cherish and enjoy on this week's program.
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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.
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Ballroom time and free to everyone. It's no time to
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friend your Dalis.
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Said Bamba.
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Yours.
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Close your eyes and visual lize in your solitude. Your
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favorite bands are on this dance and mister Miller, what
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you're in the mood. It's make Believe ballroom time. We
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are a sweet romance is to make the bottom. Come
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on to the last dass last.
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Hello world, I'm Jeff Pressler, turning on the lights of
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the Make Belief Ballroom and welcoming you into my crystal
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studio for another program of classic big band hits from
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the nineteen thirties and nineteen forties. Whether you're listening on
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the radio via great affiliates like Jazz ninety point one
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WGMC in Rochester, New York, or on a podcast or
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on internet radio in the United Kingdom, please get ready
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as I spin for you some amazing big band jazz, swing,
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blues and boogie woogie favorites. Folks, you're listening to the
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Make Believe Ballroom, broadcasting almost continuously since nineteen thirty five, Hi, folks,
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welcome once again to the show. Let's play a couple
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of quick warm up tunes for you, then to the
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old letter back.
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After you go, and let me sigh after you go,
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let me cry. You feel sad, you feel bad, You've.
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Never never best found that fever.
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Thou come a time, nomber getting babe, Thou'll come a time.
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No more regretting, Oh babe, what you're doing seemed.
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To be just my hans. Run after you go, after you,
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all Away.
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Revival of the nineteen eighteen popular composed by Turner Layton
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with lyrics by Henry Kremer. After You're Gone Roy Eldrich
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and his Orchestra, with the vocal provided by Gladys Palmer,
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recorded on Vocalion Records in Chicago, January the twenty third,
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nineteen thirty seven. What say I flipped that disc over
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for the B side?
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Everybody knows that just the muddy river, But it seemed
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like heaven on high where the moon is shining rise,
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letting me dream away the night where the lazy weaver
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goes by, go away, let us.
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Be just the reaver you and beat.
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Everything is due all along the Mississippi. Hey, don't wone
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as happy as I Why I never want to von
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Let me live and make my home where so lazy
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we were goes Fie, go away.
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Let us be.
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Just just the river, you and me.
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Everything is due on along with it, SIPI bee hein.
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Don't want us that beside why I never.
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Want to go?
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Let me live in make my home.
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Lazy River goes by Lazy River goes by Lazy we Were, goes.
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Fie from the nineteen thirty six twentieth cent Tree Fox
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film Banjo on My Knee trumpeter and bandleader Roy Eldrich
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and his orchestra again with vocal by Gladys Palmer. Here
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the Lazy River goes by the B side to After
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You're Gone, released January the twenty third, nineteen thirty seven.
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I'm Jeff Presler and you're listening to the one, the only,
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the original Make Believe Ballroom broadcasting almost continuously since nineteen
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thirty five, and now it's email times.
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And ray myself a letta in May the game from you.
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I'm going rite so sweet, then love me all a
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lot of kisses on the bottom.
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I'll be glad I got.
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I'm gonna smile and say I hope you're feeling better,
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him closed with load the way you do. I'm gonna
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send right down and write myself a letter.
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And made.
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Game from you.
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Perhaps not letters, but always many emails center us here
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at the ballroom Jeff at make Believe Ballroom Radio dot com,
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Jeff at make Believe Ballroom Radio dot com. And I'm
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gonna sprinkle a few of these correspondents across the broadcast. Also,
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I must mention that quite frequently we get Facebook comments.
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I just received a very interesting one. It was spread
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out over many comments and comes to us from Richard
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Oliver aka Tiles Tiles Tiles. I'll try to put the
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string together, he writes. Here in Arizona, we are two
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days behind New York, but play you every day. I
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assume you mean our broadcasts on Jazz ninety point one.
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He goes on Love Your Show and was turned onto
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it by my bff Lori Butner while visiting in Rochester,
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New York. I was in the United States Air Force
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five hundred and forty first band unit for ten years.
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Our Air Force band played many USO gigs, and my
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favorite song was Begin the Beginning, which I was featured
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on with my clarinet and listen to this. Folks still
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play it for fun at ninety five years of age.
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Well bless you, sir, that's just amazing. Before the United
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States Air Force I played with Mickey McMahon until he
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broke up the band and went with Lawrence Welk and
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was the only bald headed trumpeter playing in that band.
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So thanks for the Facebook comment and for you, Richard Oliver,
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I have lined up two pieces of music. First, let's
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listen to Mickey McMahon and one of his wonderful trumpet solos.
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This taken from a nineteen seventy three Lawrence Welk TV broadcast.
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Thank you very much. Now, many beautiful Latin songs have
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become very popular in the United States under different titles
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than the original ones. Here's a good example. For instance,
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this song with the Spanish titled trace polabors which means
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three words, is probably better known as without You. And
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here's a fine arrangement featuring our lead trumpet man, Mickey McMahon.
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And Sad.
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Now in tribute of the time you served as a
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clarinetist with the United States Air Force five and forty. First, band,
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I take us to what was undoubtedly the most famous
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of all World War Two military bands, that being the
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wonderful Army Air Force Band under the direction of Glenn Miller,
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band that gave over eight hundred performances before tragically Glenn
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went missing in action over the skies of Europe on Tuesday,
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December the twelfth, nineteen forty four. Let's play a little
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Glenn Miller and the Army Air Force Training Command Orchestra
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with a double dip.
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Then, Sid, it's you.
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We just heard Glenn Miller and the Army Air Force
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Band on a v desk with everybody loves My Baby
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and as a bonus, stomping at the savoy. And I
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want to thank you Richard Oliver for your wonderful and
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interesting Facebook comments. Let's play a record, then we'll go
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to another correspondence from a listener.
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Story Theory.
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On Vocalion Records, recorded in nineteen thirty eight. We just
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heard he Stone and his orchestra with a spooky swinger
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titled the Goblin Band. I'm Jeff Presler. This is the
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weekly edition of the Make Believe Ballroom. Just quick reminder,
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shortly after our radio shows are aired, they are put
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into podcast form at MakeBelieve ballroompodcast dot com. That's Makebelie
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Ballroom podcast dot com, where over two hundred shows are
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available for your listening pleasure. And now our next correspondence
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this week is from one Joseph Wink who listens on
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KPOV in Oregon, and he writes, I love your program.
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It lulls me to sleep. I really don't know how
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to take how to take that one, Joseph. A while back,
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you played Sonny dot Dunham playing the trumpet on a
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Casa Loma orchestra recording. Can you play a record by
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Sonny Dunham when he led his own band in the
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nineteen forties. Of course I can honor that request, mister Wenke,
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with one little cafayat that being that you don't fall asleep.
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Here's a little timely tip from Sunny Dunham and the boys.
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I tell you to hold everything.
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Move.
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Moment.
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Can you remain.
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The thin.
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Coco Sonny Dunham and his orchestra hold everything? Recorded for
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a McGregor radio transcription in nineteen forty two. And if
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you're still awake, Joseph Wenke, thanks for the request. And
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now folks back from his cruise to Ports Unknown, getting
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his sea legs back the salty producer emeritus of the
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Make Believe Ballroom, mister Excitement himself, Lenny from Down the
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Block with his record pick of the week.
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Hi gang, Lenny from down the Block. Here with my
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record pick of the week. While The Make Believe Ballroom,
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hosted by Martin Block was thriving in New York City
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in the nineteen thirties and forties, it was the Al
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Jarvis version, emanating out of Los Angeles that really got
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the ball rolling. The Al Jarvis version of The Make
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Believe Ballroom made its debut in the summer of nineteen
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thirty four on KFWB radio. Like the New York show,
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it was wildly popular with listeners. In the early nineteen forties,
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Black artists were so grateful that Jarvis were playing their music,
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while most stations weld not that Lionel Hampton and Nat
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King Cole collaborated on a song paying tribute to Jarvis
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and his Make Believe Ballroom. The tune was released on
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Victor Records July seventeenth, nineteen forty, featuring the Lionel Hampton
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Orchestra and the Nat King Cole trio.
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Jobs Shot Dogs, Jack Jobs, Job.
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Javas Dude that dude, And the song Lenny just played
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was Jiving with Jarvis, a recognition of the role Al
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Jarvis played by spinning records from black musicians on the radio,
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a concept that was unfortunately pretty much unheard of for
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most of the big band era. So thanks Lenny, and
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we really should do a tribute show to Al Jarvis,
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true founder of the Make Believe Ballroom. And well maybe
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we will on an upcoming program. And folks, I think, now,
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why don't I, as I frequently enjoy doing, play another
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tune if I have it in the playlist that was
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just like Jiving with Jarvis, also recorded on July seventeenth,
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nineteen forty. So as I study that list, I see
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I see a Jimmy Dorsey record featuring the beautiful voice
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of Helen O'Connell, which was also released on that date
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from Decca Records. Let's see if we have it in
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the playlist, and we do so here is the Jimmy
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Dorsey Orchestra with Helen O'Connell and another Jive tune.
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I know what little junction on the railroad track.
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It isn't very fancy, just plain old check you find
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the social set that really mingles.
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Tight all right, all right, all right, all right, I'm alone.
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You just ride.
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I'm alone, PEPSI riding. Come and get jokes tonight.
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Yep, dude juke box jib Way Indicator one two three
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Ambrigator that you see.
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Will be melone just like me. Yep, Dude, Box Jive.
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You can.
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Read our bloom for an earth.
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I have mister C and mister D.
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I'm ready.
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I'm just driving, jumping, steady, hold the time and get
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your kicks to night.
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Yep, dude the joke box Drive.
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Hi Hi, hi.
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Yah, I got it on air.
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Crazy the battle Way here.
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Ready, I got you can't choose hell.
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I'm sweet, sweet as.
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Alan my uncle.
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You prefer they may be tis a hole.
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I'm ready, I'm just right jump and steady.
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Hold the time.
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I'm come and get your kicks to night. Oh yep, dude.
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Hept Hoody from Jukebox Jive, recorded in New York City,
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July the seventeenth, nineteen forty hep t Hoody. Let me
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mention while I'm thinking about it, since many of you
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ask how I so quickly come up with tunes that
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were recorded on the same date, just like I did
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with HEPTI hooty well. I have a number of computer
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screens going here on the console in the crystal studio
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of the Make Believe Ballroom, and one of those screens
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is always focused on a website that any of you
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can reference. It's called Discography of American Historical Recordings, and
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that site is maintained by the University of California at
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Santa Barbara. It's a great resource for any of you
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dedicated record buffs out there, and you can google it.
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Discography of American Historical Records. I use it all the time.
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We played two with the Little Jive. Let me play
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one more here on the ballroom, one of Cab Calloway's
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most beloved songs.
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I'm gonna tell you about the jumping Give Jim Jim
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jump the jumping chime.
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Cat's gonna beat out the mellow chime. Beat it out
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on the middle side.
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Oh by what.
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Alamar h Lamar swan is shore? Help me dick that
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givet once more?
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Bobo boy?
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Now can't you give those cats call?
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Yeah?
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Come on, boys, let's have a ball.
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Dem damn dumping makes you dig your gianph on the
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medder side.
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