July 25, 2025

Make Believe Ballroom - 7/25/25 Edition

Show Notes
Transcript

This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - we spin a couple of lightly played Glenn Miller recordings, two great classic Jam Sessions from the origional Make Believe Ballroom, Lenny from Down the Block with his Record Pick of the Week 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 ballroom time and free to everyone. It's

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no time to friend your Dalis 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 bo Come on

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to the last dass last.

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Hello world, I'm Jeff Presler, 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 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 perhaps on a podcast,

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or maybe even on an internet radio station in the

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United Kingdom, please get ready as I spin for you

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some amazing big band jazz, swing, blues, and boogie woogie favorites. Folks,

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you're listening to the Make Believe Ballroom, broadcasting almost continuously

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since nineteen thirty five. Hi, folks, I hope you're having

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a great day. In the case that maybe you're not,

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Hopefully this song will brighten things up for you.

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The sorrow the best ever, borrow.

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Nothing nothing.

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Friends.

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If somebody asks you what swing music was, just play

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them this record on our caa Victor. We just heard

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Bunny Bragin and his Orchestra with Sobin Blues, recorded in

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nineteen thirty eight, with some great solos provided by Buddy

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himself on the trumpet, a young Ray Koniff on the trombone,

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the clarinet of Gus Bavona, Tennor Sachs of Georgia y Auld,

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and the drums of Buddy Rich the Great Bunny Beggin

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a wonderful way to start this week's make Believe ballroom

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off to a great start. Let's spend one naw ow

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from the clam Bake seven, then some uh lightly heard

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Glenn Miller records.

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From Midnight.

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You two leave morella bars.

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I'll be right there.

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I've got my b.

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When I see that rusty hair conductor man, I'll grab

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him by the collar and now holler alabam, alabam.

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That's where you drop your train.

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That brings me back again down home where I'll.

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Remain, where my honey lamb and I will be right

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there with bells.

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When not old conductor yells.

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HOLLI.

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Something not men.

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They think.

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At you.

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No, no, no no.

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When the midnight ju Chu leaves for Alabama written by

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Irving Berlin, Tommy Dorsey and his clam Bake seven vocal

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by Edith Wright, recorded on the Victor label in New

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York City, March the tenth, nineteen thirty eight. I'm Jeff

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Bresler and you're listening to the one, the only, the

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original Make Believe ballroom broadcasting almost continuously since nineteen thirty five.

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Friends' History records that the Great Glenn Miller recorded two

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hundred and sixty six seventy eight RPM singles between nineteen

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thirty eight and nineteen forty four, and in addition to that,

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Glenn made a couple of a dozen V discs. If

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you're not familiar with what a V disc is, it

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was a record that was not for sale to the public,

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but distributed exclusively to members of the Armed forces during

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World War Two as a morale booster. So once we

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get past the all time favorites of Miller, like in

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the Mood, Chattanooga, Chuchuo, Moonlight, Serenade, Gallon, Kalamazoo at al.

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There are so many big hits, there's also a wealth

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of Glenn Miller records that have been overshadowed by those

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monster hits that still deserve playing time. And I'm going

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to offer you two on today's ballroom. And why don't

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I get started with Community Swing. We just enjoyed Community Swing,

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composed by Glenn Miller and recorded by Glenn and the

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Orchestra on June ninth, nineteen thirty seven at the Brunswicks

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Studios in New York City. And some fine work on

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that recording by Manny Klein on the trumpet, Hal McIntyre

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on the clarinet, and George T. Simon playing the drums.

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Let's now listen to one more of Miller's more lightly

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played recordings, picked from his two hundred and sixty six records.

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You clap your hands and you swing out.

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What do the d and you mix and it's never

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too pulled them all together and you do on the job.

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I've always stop your feet, you swing out?

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What men around the line?

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King, It's one you won't be down.

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Everybody swinging when you're doing the job.

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If you can't play Robby or friend yours.

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To me, don't let it bother you because you'll.

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Be the king when the man begins to play.

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You'll be as money as the life money. If you

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do want bob and you swing out, what drum a

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little bit?

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Beat it out?

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Makes everybody?

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Tell me when you do on the job.

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It may be something, but it not the guy. It

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may be something, but it's not the give. Well, what

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is the giant? What is the give?

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Why?

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Man alive? The give's a give? Why I cut you

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some riff and pass it too? Just what else are

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we supposed to do? Take a tool now, buck, give

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me a chance. You're all mixed up because the giant's

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a dance. Well tell me some more.

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I'm a suck hagging you.

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Well down that horn. We'll have dancing schools.

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You lap your hands and swing out, whe go sous

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you do mix in the sap duke, boat.

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It all together and doing that GiB, stop your feet

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and swing out. Why that's around the while shakes. Everybody's swinging.

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What you're doing that giant?

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If you can't playing Rodney or bread, I mean, don't

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let it bother you joby by in the life of

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the Bie.

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And swing up one.

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A littlements beating up and make everybody's happy when you're.

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Doing that guy.

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Doing the Jive, composed by Glenn Miller and pianist Chummy McGregor,

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recorded on Brunswick Records November the twenty ninth, nineteen thirty seven,

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with a nice vocal provided by Kathleen Lane. So, folks,

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a couple of lesser known Glenn Miller tunes. I hope

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you enjoyed them, and perhaps maybe even you were listening

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to those records for the first time. We're gonna have

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a little make believe ballroom nostalgia. In just a few

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moments I mentioned that the Miller tune community swing. In

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that record, Many Klein was playing the trumpet. Manny was

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indeed one of the most highly regarded and sought after

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trumpet players during the big band Erin to prove that,

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he played not only for Glenn Miller, but for Jimmy Dorsey,

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Tommy Dorsey, Benny Goodman and Artie Shaw, among others, but

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occasionally many performed with his own small group bands. And

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here's a quickie. Manny Klein and his strangely named sextet

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from Hunger with Jada Jada performed on the radio in Hollywood, California.

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I'm not exactly sure what show or what year, but

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here's Manny and his trumpet. Now, doctor Scravnik, I direct

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your attention to that handsome young lad over there in

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yonder corner carrying that great, big, shiny new trumpet.

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That's the right direction's my lad. In fact, it's dead

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center for a bullseye, And folks, may I direct your

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attention in the same direction for their stands, our special guests.

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Truly one of the greatest all around musicians in my

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book and many others too. Here he is, Manny Climb.

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Hey, thanks Eddie, you should bring a fellow on with

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a bang, and also thanks for the nice pulled up

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well Manny.

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Truth of the matter is, I met every single word

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of it. I feel safe in saying that you're the tops.

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Well, put out the lights and call in the law.

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This guy's really off his rocker. Well seriously though, ed

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real great being here, Manny.

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I thought it would be very much in order were

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you to take up that horny oars and play a

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little something for the people.

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Well, as you know, I'm always willing to try. How's

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about Jadda.

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That's it, Manny, we're awaiting.

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Modern.

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Thank you Mannicline.

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That was really great, and thank you Eddie. It was

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a pleasure being here and I do hope you invite

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me again as good as done.

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I'm Jeff Bresler, and if you're just joining us, you're

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listening to the Make Believe Ballroom, an hour of classic

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big band jazz and swang mixed with the stories and

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tales of the big band era. I can be reached

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at Jeff at Make Believe Ballroom Radio dot com. That's

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Jeff at MakeBelieve Ballroom Radio dot com. And speaking of

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that email address, here is an email from a listener

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received last week. It says, Hi, Jeff, we're a couple

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of longtime listeners from Sweden, Sweden, New York. That is

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gateway to Clarendon, which I personally know this is me

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talking now. I personally know that that's not that far

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from sunny Brockport, the New York State University, entrenched deep

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in the frozen tundra of New York State. Back to

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the email. One of the things that amazed me, and

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that I've never heard anyone ask about is the remarkable

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audio quality of the music you and Lenny from down

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the Block share each broadcast. So many of these recordings

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made in the thirties and forties sound brand new, clear

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and bright. Where do you find classic ancient recordings without

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things and scratches and the clicks and pops common on

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decades old shellac? Seventy eight RPMs? Are these tracks that

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have been remastered and re released on vinyl without its

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own variety of unwanted noises or orre They converted to

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digital and cleaned up and archived that way. Inquiring minds

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want to know. Thanks waiting for the crystal ballroom lights

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to sparkle again this week, and it says local regards

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Rick Blank. And Rick does indeed have an email signature

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indicating that he is familiar with the college at Brockport

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and thanks Rick for your question. So we use a

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number of sources to obtain recordings here Lenny from down

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the Block he has an enormous collection of both seventy

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eight's and LP big band and general jazz albums. Any

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of the records we play we do place on an

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actual turntable and Audio Technica brand turntable here in the

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Crystal Studio, all in their scratchy, original magnificence. Now, Lenny's son,

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Chris has done a great job restoring many of these

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recordings and placing them on MP three's He's done this

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over the years, removing the scratches to the best of

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his ability and certainly working his magic to provide the

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best sound possible. So many of you know Lenny now

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lives has retired and lives in Tampa, and Chris in

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his basement, has maintained Lenny's complete collection. Many of the

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songs we play are from also from easy to find

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sources like YouTube and archives dot org, and many we

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get through Lenny's network of seventy eight RPM friends and

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groups and they are shared and exchanged. Lenny sends recordings

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to them, they send recordings back to us, and a

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piece I Am going to play in a moment a

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piece of make believe ballroom radio nostalgia I originally was given.

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The piece I'm going to play is a reel to

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reel and we converted that to an MP three. The

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brains of the operation, though, is the literally thousands of

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MP three transferred recordings we have on drives that are

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stored on our Make Believe Ballroom playlist computer and referenced

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in various ways to find what we need, so a

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number of different avenues to obtain the music we play

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here on the ballroom, and unfortunately have overstayed my welcome

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by too much talk and not enough music. Let me

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play one more then for you Reck and my friend

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and dedicated listener in Italy one Max Catani. I will

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play the real to real piece of Make Bullyeve Ballroom

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nostalgia and the story behind it. But first.

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I can swing and I can jam.

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I'm mc guiladilla, Yes I am. Well when you learn it,

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you'll be brown. Join the crowd, swing out loud. Some

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folks say that swing books stay and it's dying now,

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but I can't prove it them to prove them, they

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don't know what they're talking about.

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What is it?

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A dude like Susan Cue?

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If I can't do with so can you?

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Sar Citizen.

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Ser from Decca Records, Wham Andy Kirk and his twelve

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Clouds of Joy with the June Richmond Vocal recorded on

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January the second, nineteen forty in New York City. And

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now finally the bit of Make Bully Ballroom radio nostalgia

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I have been attempting to but have failed to produce

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for you so far. So this piece to Rick's question,

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I obtained reel to reel several years ago, where it

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eventually became transferred to an MP three. Now Max Catani,

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our listener in Italy. He sent me an email a

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little while back asking if I have more Make Believe

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Ballroom radio nostalgia to listen to. So on the original

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Make Believe Ballroom starring the legendary DJ Martin Block, a

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segment was developed called Make Believe Ballroom Jam Sessions that

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were played live in the WNW studios in New York

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City during select broadcasts of The Ballroom. Now, of course,

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the Ballroom played mostly records, but on occasion did have

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these amazing sessions featuring some of big band's finest musicians.

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Everyone from Benny Goodman to Tommy Dorsey and Jimmy Dorsey,

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count Basie Coleman Hawkins to everybody in between. Many many

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big names in the industry appeared on these segments over

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the years. Today, I want to play for you with

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session in which the Benny Goodman Trio shined here featuring

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Benny on the clarinet, Teddy Wilson playing the piano, Gene

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Krupa on the drums, with the song titled Runnin' Wild.

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Now.

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This number was performed live on the Ballroom during a

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special Fletcher Henderson a Jam Session tribute presented by Martin

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Block on April first, nineteen fifty one. Running Wild during

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the special Fletcher Henderson Jam Session on wne W Radio

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eleven three to zero in New York, featuring Benny Goodman,

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Teddy Wilson, and Gen Crouper. And I do believe, if

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I'm not mistaken, then that was the first time that

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Gene Crouper you reunited with Benny Goodman to play with

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the trio since they split in the spring of nineteen

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thirty eight. So a little nostalgic make believe Ballroom Radio.

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Here's some what is it? Some seventy four years later

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on the still Live and Breathing twenty first century edition

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of the program. And now let's move on to what

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do we have?

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Oh?

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Yeah, I just remembered after last week's show, I received

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two or three emails else asking for more Ethyl Waters. Now,

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if you recall, I played Ethyl singing taking a Chance

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00:36:06.840 --> 00:36:10.960
on Love during a segment on the Great Big Band

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era tap dancer Bill Bailey. I guess we never really

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00:36:16.480 --> 00:36:20.639
played Ethyl Waters on the ballroom, but the segment earned

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for her. I assume some new fans, So for you guys,

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00:36:25.840 --> 00:36:28.239
a little more Ethyl Waters.

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I don't care what the.

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Weather man says.

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When the weather man says it's.

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Raining, you'll never hear me complaining. I'm certain the sun

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will shine.

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I don't care how the weather van points.

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When the weather van points, do you gloomy?

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It's gotta be sunny to me?

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When your eyes look into mindjeebers, creepers, where'd you get

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those weepers?

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Jeepers, creepers?

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Where'd you get those eyes?

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Guy shall kid off?

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How to get so litle goshall kid off?

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How they hypnotized?

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Golly Geeve when you turn those heaters on?

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Why is.

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God putting my cheeters on?

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Cheepers?

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Creepers?

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Where'd you get those weepers?

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All those weepers?

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How the hypnot ties?

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Where did you get those eyes.

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Down?

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That got it?

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But I did that day?

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That then?

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What all?

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Right?

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Now?

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Golly gee Wayne turned those keeter zone? Who got put

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my cheetahs escapers?

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Right?

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Get those.

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Those weepers?

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Have you not die?

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Where did you get a di?

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Jeep and Creepers Big Black?

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From Bluebird Records. Believe it or not, Ethel was the

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first to record this song, Jeepers Creepers music written by

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Harry Warren with lyrics by Johnny Mercer, recorded in New

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York City November the ninth, nineteen thirty eight. Now, many

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of you may know that Louis Armstrong recorded his version

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on January eighteenth, nineteen thirty nine. His was, of course

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the most famous, but Ethel Waters actually beat him into

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the recording studio and became the first ever to record

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Jeepers Creepers. I'm Jeff Bresler. Thanks for joining me today

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00:39:55.800 --> 00:39:59.320
on the Make Believe Ballroom Jeff at Makebelie Ballroom Radio

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dot com, Jeff at Makebully Ballroom Radio dot com. And

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to hear past archived radio programs in podcast form, go

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00:40:08.519 --> 00:40:16.039
to www. Makebully Ballroom podcast dot com. That's Makebully Ballroom

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podcast dot com. And now, from his palatial condo in Tampa, Florida,

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the beach Bomb himself, the Platter Prince, the producer emeritus

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of the Make Bully Ballroom, Mister Excitement Lenny from down

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the 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. Massachusetts born Al Donahue was

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a fan favorite during his tenure as a bandleader, Beginning

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in the early nineteen thirties. Al had a long career

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that extended to his band working on cruise ships all

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the way into the nineteen sixties. Donnie, who spent the

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nineteen thirties leading a successful the orchestra before giving it

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all up in late nineteen thirty nine to play swing.

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Donahue kept swinging away throughout the war years, but his

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new style ultimately failed to capture the public's attention, and

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in nineteen forty six he returned to sweet music. His

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band is best remembered today for vocalists Phil Brito and

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Paula Kelly. I've chosen for you a record from Donahue's

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swing years here on Vocalian Records, featuring a Filibrito vocal

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is the El Donahue orchestras The Man with the Mandolin,

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recorded in nineteen thirty nine.

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Billium Bum Bum, bitterly m Bum, It comes the Man

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with the Mandol and bitterly m bum Bum, bitterly um Bum.

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He'll sure you up till your ship comes in. Couple

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00:42:31.360 --> 00:42:35.800
of cello playing an old chill. He comes around every afternoon,

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raggedy old minstrel wearing a big grin. You loved the

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00:42:39.840 --> 00:42:43.320
man with the mandle and all the kids father, all

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00:42:43.400 --> 00:42:47.800
the kids hollering to the windows of a mama throw

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a nickel and the mantle pick a little tune. We

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00:42:51.320 --> 00:42:56.079
love bitterly. I'm bum bum bitterly, I'm bum hopefully your

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heart left the music, and bitterly I'm bum bum bitterly.

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There goes the man with the man.

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Thanks money. We look forward to hearing from you again

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00:43:53.119 --> 00:43:57.559
next week. So, while I was playing that fine Al

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Donahue recording the studio audience quote unquote here in the

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Crystal Studio today consisting of the always here, today, Gone tomorrow.

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00:44:09.599 --> 00:44:11.719
He hasn't been here in a long time. I am

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00:44:11.840 --> 00:44:15.039
talking about don't call me Ed Norton, my first name

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00:44:15.199 --> 00:44:18.920
is Norton, and the snunty kid himself, twenty one year

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00:44:19.000 --> 00:44:24.360
old gaming podcast superstar Savant Dylan, who pops his head

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into the Crystal studio as he waits for his own

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studio to be available to record his said podcast. So

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the gruesome twosome here asked for more WNW Radio Make

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Believe Ballroom Jam sessions, and I will certainly in a

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00:44:42.199 --> 00:44:47.920
moment to honor their requests. Now, Norton, Norton is dressed

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properly for the program, is befitting a member of a

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00:44:51.599 --> 00:44:58.400
studio audience, flannel shirt button to the top, even though

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it is hot outside, very hot, and as a matter

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00:45:02.119 --> 00:45:05.800
of fact, also deck down in a very nice looking

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tractor supply baseball cap. But my friend Dylan, Dylan kids

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don't know how to dress, so I won't even discuss

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the garments you are wearing today. But the common link

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here is not clothing, It is music, and the common

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00:45:22.039 --> 00:45:27.239
request more of the Martin Block Make Believe Ballroom Jam sessions.

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You don't have any.

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Let you tell anything. They fall such a.

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Very little sad, They f a many you.

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Another Martin Block w New Make Believe Ballroom Jam session

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from the November sixteenth, nineteen thirty eight broadcast of the program,

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with a truly exceptional dream band Benny Goodman, Lester Young,

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Roy Eldridge, Teddy Wilson, Ben Heller, Sid Weiss, and Joe Jones.

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Make Believe Ballroom - 7/25/25 Edition

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