July 11, 2025 • 58 mins
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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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:12):
It's make Believe ballroom time. Put all your cares away.
All the bands are here to bring good cheer your way.
Speaker 2 (00:25):
It's make Belief.
Speaker 1 (00:27):
Ballroom time and free to everyone. It's no time to
friend your Dalis.
Speaker 3 (00:35):
Said Bamba.
Speaker 4 (00:39):
Yours.
Speaker 1 (00:40):
Close your eyes and visual lize in your solitude. Your
favorite bands are on this dance and mister Miller, what
you're in the mood. It's make Believe ballroom time. We
are a sweet romance is to make the bottom. Come
(01:02):
on to the last dass last.
Speaker 5 (01:05):
Hello world, I'm Jeff Pressler, turning on the lights of
the Make Belief Ballroom and welcoming you into my crystal
studio for another program of classic big band hits from
the nineteen thirties and nineteen forties. Whether you're listening on
the radio via great affiliates like Jazz ninety point one
(01:26):
WGMC in Rochester, New York, or on a podcast or
on internet radio in the United Kingdom, please get ready
as I spin for you some amazing big band jazz, swing,
blues and boogie woogie favorites. Folks, you're listening to the
Make Believe Ballroom, broadcasting almost continuously since nineteen thirty five, Hi, folks,
(01:53):
welcome once again to the show. Let's play a couple
of quick warm up tunes for you, then to the
old letter back.
Speaker 6 (02:52):
After you go, and let me sigh after you go,
let me cry. You feel sad, you feel bad, You've.
Speaker 2 (03:04):
Never never best found that fever.
Speaker 6 (03:07):
Thou come a time, nomber getting babe, Thou'll come a time.
No more regretting, Oh babe, what you're doing seemed.
Speaker 7 (03:18):
To be just my hans. Run after you go, after you,
all Away.
Speaker 5 (04:56):
Revival of the nineteen eighteen popular composed by Turner Layton
with lyrics by Henry Kremer. After You're Gone Roy Eldrich
and his Orchestra, with the vocal provided by Gladys Palmer,
recorded on Vocalion Records in Chicago, January the twenty third,
(05:19):
nineteen thirty seven. What say I flipped that disc over
for the B side?
Speaker 6 (06:22):
Everybody knows that just the muddy river, But it seemed
like heaven on high where the moon is shining rise,
letting me dream away the night where the lazy weaver
goes by, go away, let us.
Speaker 8 (06:41):
Be just the reaver you and beat.
Speaker 6 (06:48):
Everything is due all along the Mississippi. Hey, don't wone
as happy as I Why I never want to von
Let me live and make my home where so lazy
we were goes Fie, go away.
Speaker 4 (07:24):
Let us be.
Speaker 9 (07:26):
Just just the river, you and me.
Speaker 6 (07:31):
Everything is due on along with it, SIPI bee hein.
Don't want us that beside why I never.
Speaker 2 (07:40):
Want to go?
Speaker 6 (07:41):
Let me live in make my home.
Speaker 2 (07:44):
Lazy River goes by Lazy River goes by Lazy we Were, goes.
Speaker 5 (07:55):
Fie from the nineteen thirty six twentieth cent Tree Fox
film Banjo on My Knee trumpeter and bandleader Roy Eldrich
and his orchestra again with vocal by Gladys Palmer. Here
the Lazy River goes by the B side to After
(08:15):
You're Gone, released January the twenty third, nineteen thirty seven.
I'm Jeff Presler and you're listening to the one, the only,
the original Make Believe Ballroom broadcasting almost continuously since nineteen
thirty five, and now it's email times.
Speaker 10 (08:39):
And ray myself a letta in May the game from you.
I'm going rite so sweet, then love me all a
(09:02):
lot of kisses on the bottom.
Speaker 2 (09:07):
I'll be glad I got.
Speaker 10 (09:10):
I'm gonna smile and say I hope you're feeling better,
him closed with load the way you do. I'm gonna
send right down and write myself a letter.
Speaker 4 (09:35):
And made.
Speaker 10 (09:37):
Game from you.
Speaker 5 (09:44):
Perhaps not letters, but always many emails center us here
at the ballroom Jeff at make Believe Ballroom Radio dot com,
Jeff at make Believe Ballroom Radio dot com. And I'm
gonna sprinkle a few of these correspondents across the broadcast. Also,
I must mention that quite frequently we get Facebook comments.
(10:07):
I just received a very interesting one. It was spread
out over many comments and comes to us from Richard
Oliver aka Tiles Tiles Tiles. I'll try to put the
string together, he writes. Here in Arizona, we are two
days behind New York, but play you every day. I
(10:30):
assume you mean our broadcasts on Jazz ninety point one.
He goes on Love Your Show and was turned onto
it by my bff Lori Butner while visiting in Rochester,
New York. I was in the United States Air Force
five hundred and forty first band unit for ten years.
(10:53):
Our Air Force band played many USO gigs, and my
favorite song was Begin the Beginning, which I was featured
on with my clarinet and listen to this. Folks still
play it for fun at ninety five years of age.
Well bless you, sir, that's just amazing. Before the United
(11:14):
States Air Force I played with Mickey McMahon until he
broke up the band and went with Lawrence Welk and
was the only bald headed trumpeter playing in that band.
So thanks for the Facebook comment and for you, Richard Oliver,
I have lined up two pieces of music. First, let's
(11:38):
listen to Mickey McMahon and one of his wonderful trumpet solos.
This taken from a nineteen seventy three Lawrence Welk TV broadcast.
Speaker 11 (11:50):
Thank you very much. Now, many beautiful Latin songs have
become very popular in the United States under different titles
than the original ones. Here's a good example. For instance,
this song with the Spanish titled trace polabors which means
three words, is probably better known as without You. And
here's a fine arrangement featuring our lead trumpet man, Mickey McMahon.
Speaker 10 (13:38):
And Sad.
Speaker 5 (14:35):
Now in tribute of the time you served as a
clarinetist with the United States Air Force five and forty. First, band,
I take us to what was undoubtedly the most famous
of all World War Two military bands, that being the
wonderful Army Air Force Band under the direction of Glenn Miller,
(14:58):
band that gave over eight hundred performances before tragically Glenn
went missing in action over the skies of Europe on Tuesday,
December the twelfth, nineteen forty four. Let's play a little
Glenn Miller and the Army Air Force Training Command Orchestra
(15:20):
with a double dip.
Speaker 2 (16:01):
Then, Sid, it's you.
Speaker 5 (19:28):
We just heard Glenn Miller and the Army Air Force
Band on a v desk with everybody loves My Baby
and as a bonus, stomping at the savoy. And I
want to thank you Richard Oliver for your wonderful and
interesting Facebook comments. Let's play a record, then we'll go
(19:49):
to another correspondence from a listener.
Speaker 12 (20:01):
Story Theory.
Speaker 5 (21:53):
On Vocalion Records, recorded in nineteen thirty eight. We just
heard he Stone and his orchestra with a spooky swinger
titled the Goblin Band. I'm Jeff Presler. This is the
weekly edition of the Make Believe Ballroom. Just quick reminder,
shortly after our radio shows are aired, they are put
(22:17):
into podcast form at MakeBelieve ballroompodcast dot com. That's Makebelie
Ballroom podcast dot com, where over two hundred shows are
available for your listening pleasure. And now our next correspondence
this week is from one Joseph Wink who listens on
(22:38):
KPOV in Oregon, and he writes, I love your program.
It lulls me to sleep. I really don't know how
to take how to take that one, Joseph. A while back,
you played Sonny dot Dunham playing the trumpet on a
Casa Loma orchestra recording. Can you play a record by
(23:00):
Sonny Dunham when he led his own band in the
nineteen forties. Of course I can honor that request, mister Wenke,
with one little cafayat that being that you don't fall asleep.
Speaker 7 (23:28):
Here's a little timely tip from Sunny Dunham and the boys.
Speaker 3 (23:31):
I tell you to hold everything.
Speaker 4 (24:21):
Move.
Speaker 13 (24:28):
Moment.
Speaker 4 (24:37):
Can you remain.
Speaker 2 (25:10):
The thin.
Speaker 5 (27:58):
Coco Sonny Dunham and his orchestra hold everything? Recorded for
(28:38):
a McGregor radio transcription in nineteen forty two. And if
you're still awake, Joseph Wenke, thanks for the request. And
now folks back from his cruise to Ports Unknown, getting
his sea legs back the salty producer emeritus of the
Make Believe Ballroom, mister Excitement himself, Lenny from Down the
(29:03):
Block with his record pick of the week.
Speaker 14 (29:08):
Hi gang, Lenny from down the Block. Here with my
record pick of the week. While The Make Believe Ballroom,
hosted by Martin Block was thriving in New York City
in the nineteen thirties and forties, it was the Al
Jarvis version, emanating out of Los Angeles that really got
the ball rolling. The Al Jarvis version of The Make
(29:28):
Believe Ballroom made its debut in the summer of nineteen
thirty four on KFWB radio. Like the New York show,
it was wildly popular with listeners. In the early nineteen forties,
Black artists were so grateful that Jarvis were playing their music,
while most stations weld not that Lionel Hampton and Nat
King Cole collaborated on a song paying tribute to Jarvis
(29:52):
and his Make Believe Ballroom. The tune was released on
Victor Records July seventeenth, nineteen forty, featuring the Lionel Hampton
Orchestra and the Nat King Cole trio.
Speaker 15 (30:30):
Jobs Shot Dogs, Jack Jobs, Job.
Speaker 5 (32:30):
Javas Dude that dude, And the song Lenny just played
was Jiving with Jarvis, a recognition of the role Al
Jarvis played by spinning records from black musicians on the radio,
(32:53):
a concept that was unfortunately pretty much unheard of for
most of the big band era. So thanks Lenny, and
we really should do a tribute show to Al Jarvis,
true founder of the Make Believe Ballroom. And well maybe
we will on an upcoming program. And folks, I think, now,
(33:17):
why don't I, as I frequently enjoy doing, play another
tune if I have it in the playlist that was
just like Jiving with Jarvis, also recorded on July seventeenth,
nineteen forty. So as I study that list, I see
(33:42):
I see a Jimmy Dorsey record featuring the beautiful voice
of Helen O'Connell, which was also released on that date
from Decca Records. Let's see if we have it in
the playlist, and we do so here is the Jimmy
Dorsey Orchestra with Helen O'Connell and another Jive tune.
Speaker 3 (34:18):
I know what little junction on the railroad track.
Speaker 15 (34:21):
It isn't very fancy, just plain old check you find
the social set that really mingles.
Speaker 3 (34:26):
Tight all right, all right, all right, all right, I'm alone.
Speaker 4 (34:35):
You just ride.
Speaker 3 (34:37):
I'm alone, PEPSI riding. Come and get jokes tonight.
Speaker 7 (34:43):
Yep, dude juke box jib Way Indicator one two three
Ambrigator that you see.
Speaker 3 (34:53):
Will be melone just like me. Yep, Dude, Box Jive.
Speaker 2 (34:59):
You can.
Speaker 10 (35:02):
Read our bloom for an earth.
Speaker 3 (35:07):
I have mister C and mister D.
Speaker 4 (35:12):
I'm ready.
Speaker 6 (35:13):
I'm just driving, jumping, steady, hold the time and get
your kicks to night.
Speaker 3 (35:21):
Yep, dude the joke box Drive.
Speaker 13 (35:24):
Hi Hi, hi.
Speaker 9 (36:14):
Yah, I got it on air.
Speaker 2 (36:25):
Crazy the battle Way here.
Speaker 3 (36:27):
Ready, I got you can't choose hell.
Speaker 2 (36:38):
I'm sweet, sweet as.
Speaker 3 (36:40):
Alan my uncle.
Speaker 12 (36:43):
You prefer they may be tis a hole.
Speaker 3 (36:48):
I'm ready, I'm just right jump and steady.
Speaker 10 (36:52):
Hold the time.
Speaker 3 (36:54):
I'm come and get your kicks to night. Oh yep, dude.
Speaker 5 (37:13):
Hept Hoody from Jukebox Jive, recorded in New York City,
July the seventeenth, nineteen forty hep t Hoody. Let me
mention while I'm thinking about it, since many of you
ask how I so quickly come up with tunes that
(37:34):
were recorded on the same date, just like I did
with HEPTI hooty well. I have a number of computer
screens going here on the console in the crystal studio
of the Make Believe Ballroom, and one of those screens
is always focused on a website that any of you
can reference. It's called Discography of American Historical Recordings, and
(37:58):
that site is maintained by the University of California at
Santa Barbara. It's a great resource for any of you
dedicated record buffs out there, and you can google it.
Discography of American Historical Records. I use it all the time.
(38:20):
We played two with the Little Jive. Let me play
one more here on the ballroom, one of Cab Calloway's
most beloved songs.
Speaker 10 (38:38):
I'm gonna tell you about the jumping Give Jim Jim
jump the jumping chime.
Speaker 16 (38:43):
Cat's gonna beat out the mellow chime. Beat it out
on the middle side.
Speaker 4 (39:01):
Oh by what.
Speaker 16 (39:04):
Alamar h Lamar swan is shore? Help me dick that
givet once more?
Speaker 12 (39:10):
Bobo boy?
Speaker 16 (39:15):
Now can't you give those cats call?
Speaker 2 (39:18):
Yeah?
Speaker 8 (39:18):
Come on, boys, let's have a ball.
Speaker 2 (39:21):
Dem damn dumping makes you dig your gianph on the
medder side.
Speaker 10 (39:26):
Have Heaven.
Speaker 16 (39:28):
Help Heaven, m damn good makes you nine foot tall
when you both foot five have heap.
Speaker 2 (39:39):
He Now, don't you be that INChO room?
Speaker 1 (39:44):
Get hep come on and follow due, then.
Speaker 12 (39:48):
You get your study food.
Speaker 16 (39:50):
You make the joint jump like the gators do.
Speaker 2 (39:53):
The damn damn drop dumping.
Speaker 16 (39:55):
Makes you like your eggs on the jersey's side have heaven.
The Jim Champ jump in chime makes you heap on
the man the side heaven.
Speaker 2 (40:16):
The dumble umble your time will make you dig he can.
Speaker 4 (40:27):
Jump time.
Speaker 13 (40:29):
Thank you note for caller and five.
Speaker 16 (40:37):
Don't you be that the gloom get em come on
and follow Stew, Then you get your steady flood. You
make us joey jumping like caper Stew.
Speaker 2 (40:47):
The Jim jump jump umps you liking your head on the.
Speaker 16 (40:56):
Jimjamp jump in chime, but makes you.
Speaker 2 (40:59):
The man.
Speaker 13 (41:03):
Going going, going, going to data.
Speaker 16 (41:06):
Now I've told you about the jumping jib Jim Jim
jump jumping job. I know you dug this metal give
boom to get on the hill of Side.
Speaker 5 (41:17):
On Vocalion Records, released back in nineteen thirty nine, The
Cab Callaway Classic hip Hop, the Jumpin' Jive and I'm
not jumping because in order to do the make believe Ballroom,
I must sit and pay attention at the console here
in the Crystal studio to bring you the recordings of
(41:38):
so many popular tunes of the big band era. And
now to the next email, which uh well, which actually
it actually hammers me. It reads a Jeff, your old
friend from Michigan, Lionel. I listened to the show each
week here in Ipsiliathy, not on a US station, but
(42:00):
rather on nineteen forties UK radio in Great Britain. Wake up,
old chap. You promise to play at least one British
band leader per program, and your record over the last
few weeks is nil. Time to get back into the game.
And that's from Lionel in ifsil anthe Michigan, who frequently
(42:23):
writes to us here at the Ballroom. It's amazing with
internet radio, Lionel, who I'm not really sure whether he's
British or not, but nevertheless he enjoys getting his fix
of big band tunes on nineteen forties UK radio, where
I am proud to be a regular presenter. I do
(42:45):
admit I have lapsed, so let's see if I can
make it up.
Speaker 8 (43:00):
Didn't I am a nasty man taking my love on
(44:22):
the easy player, heither there and where I can.
Speaker 10 (44:25):
I'm a nasty man.
Speaker 1 (44:27):
You're not fooling me.
Speaker 8 (44:29):
I've got you figures from AC and I'm down good company. Oh,
I am a big bat man. I'm a sweet and
nasty you know what's im I'll pull of pasty, make
a sizzle, then I chiseled. I am a nasty man.
Speaker 1 (44:45):
I've never met anyone who can be as bad, more
better than me.
Speaker 4 (44:50):
I'm a nasty man.
Speaker 8 (44:52):
I'm a nasty man.
Speaker 4 (44:54):
I'm a nasty man.
Speaker 10 (44:56):
I'm a nasty Man's do.
Speaker 9 (45:34):
I'm a nasty man.
Speaker 5 (45:36):
That was Harry Roy and his orchestra Nasty Man, recorded
in London on Parlophone Records, June the eighteenth, nineteen thirty four.
And now, folks, another goodie from the UK.
Speaker 2 (46:03):
If the top.
Speaker 13 (47:26):
Think ditt.
Speaker 5 (48:59):
I'm British. There we just heard Jack Hilton and his
orchestra with the classic Hilton tune, the Hilton Stomp. So lionel,
I hope you just got your fix of some British
big band tunes as you requested, sing.
Speaker 6 (51:51):
Something that.
Speaker 5 (52:09):
Let's get together. Chickweb and his orchestra for Columbia Records,
recorded on January the fifteenth, nineteen thirty four, a Chickweb classic.
Now let's up our game from Let's get together to
let's get happy together.
Speaker 16 (53:11):
You'll high so am mine.
Speaker 7 (53:13):
Let's be halfy together, you blue me to let's forget
about dongy weather. You've lost your baby and I've lost mine.
Speaker 3 (53:24):
I've got the nickel and.
Speaker 4 (53:26):
You fly the dime.
Speaker 7 (53:27):
We'll drown our troubles and wine, so we'll be half
been together.
Speaker 16 (53:33):
Why should we worried just.
Speaker 7 (53:35):
Because they turned us down? Come on, baby, bless y'all that.
Speaker 2 (53:41):
We're nobody's clowning.
Speaker 13 (53:43):
Now you can dance and I can see.
Speaker 7 (53:46):
I've got the finger and you've got the rings. We
get the possums to fix this thing. So we'll be
half been together.
Speaker 9 (54:15):
Whatever the form, from forever.
Speaker 3 (54:58):
Why should the word just because they turned down. Come on, babe,
we'll show them.
Speaker 7 (55:06):
We'll show them that we're no clown. You can days, nagie.
I've got the finger in you doing so we will
be happy together.
Speaker 5 (55:22):
Lil Harden Armstrong and her Swing Orchestra, Let's Get Happy Together,
recorded February the second, nineteen thirty eight. And Friends. Now
as I look at the big Bullova clock firmly affixed
to the studio wall. Here in the crystal studio of
the Make Believe Ballroom, I must say it is regrettably
(55:44):
time to take a powder to vamoose, to vacate the
premises until next week. To reach me, I'm Jeff at
MakeBelieve Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroom
Radio dot com. To hear past shows that are archived
after they are broadcast on the radio, please go to
(56:06):
MakeBelieve Ballroom podcast dot com, make Believe Ballroom podcast dot com,
or visit your favorite podcast provider, whether that be Apple, Spotify, iHeartRadio.
We are on all of them. So, folks, until next week.
This has been Jeff Bresler.
Speaker 2 (57:42):
Just keep on dancing. Oh you've only a small room.
Make it your ball room. Last fas
It's make Believe ballroom time. Put all your cares away.
All the bands are here to bring good cheer your way.
Speaker 2 (00:25):
It's make Belief.
Speaker 1 (00:27):
Ballroom time and free to everyone. It's no time to
friend your Dalis.
Speaker 3 (00:35):
Said Bamba.
Speaker 4 (00:39):
Yours.
Speaker 1 (00:40):
Close your eyes and visual lize in your solitude. Your
favorite bands are on this dance and mister Miller, what
you're in the mood. It's make Believe ballroom time. We
are a sweet romance is to make the bottom. Come
(01:02):
on to the last dass last.
Speaker 5 (01:05):
Hello world, I'm Jeff Pressler, turning on the lights of
the Make Belief Ballroom and welcoming you into my crystal
studio for another program of classic big band hits from
the nineteen thirties and nineteen forties. Whether you're listening on
the radio via great affiliates like Jazz ninety point one
(01:26):
WGMC in Rochester, New York, or on a podcast or
on internet radio in the United Kingdom, please get ready
as I spin for you some amazing big band jazz, swing,
blues and boogie woogie favorites. Folks, you're listening to the
Make Believe Ballroom, broadcasting almost continuously since nineteen thirty five, Hi, folks,
(01:53):
welcome once again to the show. Let's play a couple
of quick warm up tunes for you, then to the
old letter back.
Speaker 6 (02:52):
After you go, and let me sigh after you go,
let me cry. You feel sad, you feel bad, You've.
Speaker 2 (03:04):
Never never best found that fever.
Speaker 6 (03:07):
Thou come a time, nomber getting babe, Thou'll come a time.
No more regretting, Oh babe, what you're doing seemed.
Speaker 7 (03:18):
To be just my hans. Run after you go, after you,
all Away.
Speaker 5 (04:56):
Revival of the nineteen eighteen popular composed by Turner Layton
with lyrics by Henry Kremer. After You're Gone Roy Eldrich
and his Orchestra, with the vocal provided by Gladys Palmer,
recorded on Vocalion Records in Chicago, January the twenty third,
(05:19):
nineteen thirty seven. What say I flipped that disc over
for the B side?
Speaker 6 (06:22):
Everybody knows that just the muddy river, But it seemed
like heaven on high where the moon is shining rise,
letting me dream away the night where the lazy weaver
goes by, go away, let us.
Speaker 8 (06:41):
Be just the reaver you and beat.
Speaker 6 (06:48):
Everything is due all along the Mississippi. Hey, don't wone
as happy as I Why I never want to von
Let me live and make my home where so lazy
we were goes Fie, go away.
Speaker 4 (07:24):
Let us be.
Speaker 9 (07:26):
Just just the river, you and me.
Speaker 6 (07:31):
Everything is due on along with it, SIPI bee hein.
Don't want us that beside why I never.
Speaker 2 (07:40):
Want to go?
Speaker 6 (07:41):
Let me live in make my home.
Speaker 2 (07:44):
Lazy River goes by Lazy River goes by Lazy we Were, goes.
Speaker 5 (07:55):
Fie from the nineteen thirty six twentieth cent Tree Fox
film Banjo on My Knee trumpeter and bandleader Roy Eldrich
and his orchestra again with vocal by Gladys Palmer. Here
the Lazy River goes by the B side to After
(08:15):
You're Gone, released January the twenty third, nineteen thirty seven.
I'm Jeff Presler and you're listening to the one, the only,
the original Make Believe Ballroom broadcasting almost continuously since nineteen
thirty five, and now it's email times.
Speaker 10 (08:39):
And ray myself a letta in May the game from you.
I'm going rite so sweet, then love me all a
(09:02):
lot of kisses on the bottom.
Speaker 2 (09:07):
I'll be glad I got.
Speaker 10 (09:10):
I'm gonna smile and say I hope you're feeling better,
him closed with load the way you do. I'm gonna
send right down and write myself a letter.
Speaker 4 (09:35):
And made.
Speaker 10 (09:37):
Game from you.
Speaker 5 (09:44):
Perhaps not letters, but always many emails center us here
at the ballroom Jeff at make Believe Ballroom Radio dot com,
Jeff at make Believe Ballroom Radio dot com. And I'm
gonna sprinkle a few of these correspondents across the broadcast. Also,
I must mention that quite frequently we get Facebook comments.
(10:07):
I just received a very interesting one. It was spread
out over many comments and comes to us from Richard
Oliver aka Tiles Tiles Tiles. I'll try to put the
string together, he writes. Here in Arizona, we are two
days behind New York, but play you every day. I
(10:30):
assume you mean our broadcasts on Jazz ninety point one.
He goes on Love Your Show and was turned onto
it by my bff Lori Butner while visiting in Rochester,
New York. I was in the United States Air Force
five hundred and forty first band unit for ten years.
(10:53):
Our Air Force band played many USO gigs, and my
favorite song was Begin the Beginning, which I was featured
on with my clarinet and listen to this. Folks still
play it for fun at ninety five years of age.
Well bless you, sir, that's just amazing. Before the United
(11:14):
States Air Force I played with Mickey McMahon until he
broke up the band and went with Lawrence Welk and
was the only bald headed trumpeter playing in that band.
So thanks for the Facebook comment and for you, Richard Oliver,
I have lined up two pieces of music. First, let's
(11:38):
listen to Mickey McMahon and one of his wonderful trumpet solos.
This taken from a nineteen seventy three Lawrence Welk TV broadcast.
Speaker 11 (11:50):
Thank you very much. Now, many beautiful Latin songs have
become very popular in the United States under different titles
than the original ones. Here's a good example. For instance,
this song with the Spanish titled trace polabors which means
three words, is probably better known as without You. And
here's a fine arrangement featuring our lead trumpet man, Mickey McMahon.
Speaker 10 (13:38):
And Sad.
Speaker 5 (14:35):
Now in tribute of the time you served as a
clarinetist with the United States Air Force five and forty. First, band,
I take us to what was undoubtedly the most famous
of all World War Two military bands, that being the
wonderful Army Air Force Band under the direction of Glenn Miller,
(14:58):
band that gave over eight hundred performances before tragically Glenn
went missing in action over the skies of Europe on Tuesday,
December the twelfth, nineteen forty four. Let's play a little
Glenn Miller and the Army Air Force Training Command Orchestra
(15:20):
with a double dip.
Speaker 2 (16:01):
Then, Sid, it's you.
Speaker 5 (19:28):
We just heard Glenn Miller and the Army Air Force
Band on a v desk with everybody loves My Baby
and as a bonus, stomping at the savoy. And I
want to thank you Richard Oliver for your wonderful and
interesting Facebook comments. Let's play a record, then we'll go
(19:49):
to another correspondence from a listener.
Speaker 12 (20:01):
Story Theory.
Speaker 5 (21:53):
On Vocalion Records, recorded in nineteen thirty eight. We just
heard he Stone and his orchestra with a spooky swinger
titled the Goblin Band. I'm Jeff Presler. This is the
weekly edition of the Make Believe Ballroom. Just quick reminder,
shortly after our radio shows are aired, they are put
(22:17):
into podcast form at MakeBelieve ballroompodcast dot com. That's Makebelie
Ballroom podcast dot com, where over two hundred shows are
available for your listening pleasure. And now our next correspondence
this week is from one Joseph Wink who listens on
(22:38):
KPOV in Oregon, and he writes, I love your program.
It lulls me to sleep. I really don't know how
to take how to take that one, Joseph. A while back,
you played Sonny dot Dunham playing the trumpet on a
Casa Loma orchestra recording. Can you play a record by
(23:00):
Sonny Dunham when he led his own band in the
nineteen forties. Of course I can honor that request, mister Wenke,
with one little cafayat that being that you don't fall asleep.
Speaker 7 (23:28):
Here's a little timely tip from Sunny Dunham and the boys.
Speaker 3 (23:31):
I tell you to hold everything.
Speaker 4 (24:21):
Move.
Speaker 13 (24:28):
Moment.
Speaker 4 (24:37):
Can you remain.
Speaker 2 (25:10):
The thin.
Speaker 5 (27:58):
Coco Sonny Dunham and his orchestra hold everything? Recorded for
(28:38):
a McGregor radio transcription in nineteen forty two. And if
you're still awake, Joseph Wenke, thanks for the request. And
now folks back from his cruise to Ports Unknown, getting
his sea legs back the salty producer emeritus of the
Make Believe Ballroom, mister Excitement himself, Lenny from Down the
(29:03):
Block with his record pick of the week.
Speaker 14 (29:08):
Hi gang, Lenny from down the Block. Here with my
record pick of the week. While The Make Believe Ballroom,
hosted by Martin Block was thriving in New York City
in the nineteen thirties and forties, it was the Al
Jarvis version, emanating out of Los Angeles that really got
the ball rolling. The Al Jarvis version of The Make
(29:28):
Believe Ballroom made its debut in the summer of nineteen
thirty four on KFWB radio. Like the New York show,
it was wildly popular with listeners. In the early nineteen forties,
Black artists were so grateful that Jarvis were playing their music,
while most stations weld not that Lionel Hampton and Nat
King Cole collaborated on a song paying tribute to Jarvis
(29:52):
and his Make Believe Ballroom. The tune was released on
Victor Records July seventeenth, nineteen forty, featuring the Lionel Hampton
Orchestra and the Nat King Cole trio.
Speaker 15 (30:30):
Jobs Shot Dogs, Jack Jobs, Job.
Speaker 5 (32:30):
Javas Dude that dude, And the song Lenny just played
was Jiving with Jarvis, a recognition of the role Al
Jarvis played by spinning records from black musicians on the radio,
(32:53):
a concept that was unfortunately pretty much unheard of for
most of the big band era. So thanks Lenny, and
we really should do a tribute show to Al Jarvis,
true founder of the Make Believe Ballroom. And well maybe
we will on an upcoming program. And folks, I think, now,
(33:17):
why don't I, as I frequently enjoy doing, play another
tune if I have it in the playlist that was
just like Jiving with Jarvis, also recorded on July seventeenth,
nineteen forty. So as I study that list, I see
(33:42):
I see a Jimmy Dorsey record featuring the beautiful voice
of Helen O'Connell, which was also released on that date
from Decca Records. Let's see if we have it in
the playlist, and we do so here is the Jimmy
Dorsey Orchestra with Helen O'Connell and another Jive tune.
Speaker 3 (34:18):
I know what little junction on the railroad track.
Speaker 15 (34:21):
It isn't very fancy, just plain old check you find
the social set that really mingles.
Speaker 3 (34:26):
Tight all right, all right, all right, all right, I'm alone.
Speaker 4 (34:35):
You just ride.
Speaker 3 (34:37):
I'm alone, PEPSI riding. Come and get jokes tonight.
Speaker 7 (34:43):
Yep, dude juke box jib Way Indicator one two three
Ambrigator that you see.
Speaker 3 (34:53):
Will be melone just like me. Yep, Dude, Box Jive.
Speaker 2 (34:59):
You can.
Speaker 10 (35:02):
Read our bloom for an earth.
Speaker 3 (35:07):
I have mister C and mister D.
Speaker 4 (35:12):
I'm ready.
Speaker 6 (35:13):
I'm just driving, jumping, steady, hold the time and get
your kicks to night.
Speaker 3 (35:21):
Yep, dude the joke box Drive.
Speaker 13 (35:24):
Hi Hi, hi.
Speaker 9 (36:14):
Yah, I got it on air.
Speaker 2 (36:25):
Crazy the battle Way here.
Speaker 3 (36:27):
Ready, I got you can't choose hell.
Speaker 2 (36:38):
I'm sweet, sweet as.
Speaker 3 (36:40):
Alan my uncle.
Speaker 12 (36:43):
You prefer they may be tis a hole.
Speaker 3 (36:48):
I'm ready, I'm just right jump and steady.
Speaker 10 (36:52):
Hold the time.
Speaker 3 (36:54):
I'm come and get your kicks to night. Oh yep, dude.
Speaker 5 (37:13):
Hept Hoody from Jukebox Jive, recorded in New York City,
July the seventeenth, nineteen forty hep t Hoody. Let me
mention while I'm thinking about it, since many of you
ask how I so quickly come up with tunes that
(37:34):
were recorded on the same date, just like I did
with HEPTI hooty well. I have a number of computer
screens going here on the console in the crystal studio
of the Make Believe Ballroom, and one of those screens
is always focused on a website that any of you
can reference. It's called Discography of American Historical Recordings, and
(37:58):
that site is maintained by the University of California at
Santa Barbara. It's a great resource for any of you
dedicated record buffs out there, and you can google it.
Discography of American Historical Records. I use it all the time.
(38:20):
We played two with the Little Jive. Let me play
one more here on the ballroom, one of Cab Calloway's
most beloved songs.
Speaker 10 (38:38):
I'm gonna tell you about the jumping Give Jim Jim
jump the jumping chime.
Speaker 16 (38:43):
Cat's gonna beat out the mellow chime. Beat it out
on the middle side.
Speaker 4 (39:01):
Oh by what.
Speaker 16 (39:04):
Alamar h Lamar swan is shore? Help me dick that
givet once more?
Speaker 12 (39:10):
Bobo boy?
Speaker 16 (39:15):
Now can't you give those cats call?
Speaker 2 (39:18):
Yeah?
Speaker 8 (39:18):
Come on, boys, let's have a ball.
Speaker 2 (39:21):
Dem damn dumping makes you dig your gianph on the
medder side.
Speaker 10 (39:26):
Have Heaven.
Speaker 16 (39:28):
Help Heaven, m damn good makes you nine foot tall
when you both foot five have heap.
Speaker 2 (39:39):
He Now, don't you be that INChO room?
Speaker 1 (39:44):
Get hep come on and follow due, then.
Speaker 12 (39:48):
You get your study food.
Speaker 16 (39:50):
You make the joint jump like the gators do.
Speaker 2 (39:53):
The damn damn drop dumping.
Speaker 16 (39:55):
Makes you like your eggs on the jersey's side have heaven.
The Jim Champ jump in chime makes you heap on
the man the side heaven.
Speaker 2 (40:16):
The dumble umble your time will make you dig he can.
Speaker 4 (40:27):
Jump time.
Speaker 13 (40:29):
Thank you note for caller and five.
Speaker 16 (40:37):
Don't you be that the gloom get em come on
and follow Stew, Then you get your steady flood. You
make us joey jumping like caper Stew.
Speaker 2 (40:47):
The Jim jump jump umps you liking your head on the.
Speaker 16 (40:56):
Jimjamp jump in chime, but makes you.
Speaker 2 (40:59):
The man.
Speaker 13 (41:03):
Going going, going, going to data.
Speaker 16 (41:06):
Now I've told you about the jumping jib Jim Jim
jump jumping job. I know you dug this metal give
boom to get on the hill of Side.
Speaker 5 (41:17):
On Vocalion Records, released back in nineteen thirty nine, The
Cab Callaway Classic hip Hop, the Jumpin' Jive and I'm
not jumping because in order to do the make believe Ballroom,
I must sit and pay attention at the console here
in the Crystal studio to bring you the recordings of
(41:38):
so many popular tunes of the big band era. And
now to the next email, which uh well, which actually
it actually hammers me. It reads a Jeff, your old
friend from Michigan, Lionel. I listened to the show each
week here in Ipsiliathy, not on a US station, but
(42:00):
rather on nineteen forties UK radio in Great Britain. Wake up,
old chap. You promise to play at least one British
band leader per program, and your record over the last
few weeks is nil. Time to get back into the game.
And that's from Lionel in ifsil anthe Michigan, who frequently
(42:23):
writes to us here at the Ballroom. It's amazing with
internet radio, Lionel, who I'm not really sure whether he's
British or not, but nevertheless he enjoys getting his fix
of big band tunes on nineteen forties UK radio, where
I am proud to be a regular presenter. I do
(42:45):
admit I have lapsed, so let's see if I can
make it up.
Speaker 8 (43:00):
Didn't I am a nasty man taking my love on
(44:22):
the easy player, heither there and where I can.
Speaker 10 (44:25):
I'm a nasty man.
Speaker 1 (44:27):
You're not fooling me.
Speaker 8 (44:29):
I've got you figures from AC and I'm down good company. Oh,
I am a big bat man. I'm a sweet and
nasty you know what's im I'll pull of pasty, make
a sizzle, then I chiseled. I am a nasty man.
Speaker 1 (44:45):
I've never met anyone who can be as bad, more
better than me.
Speaker 4 (44:50):
I'm a nasty man.
Speaker 8 (44:52):
I'm a nasty man.
Speaker 4 (44:54):
I'm a nasty man.
Speaker 10 (44:56):
I'm a nasty Man's do.
Speaker 9 (45:34):
I'm a nasty man.
Speaker 5 (45:36):
That was Harry Roy and his orchestra Nasty Man, recorded
in London on Parlophone Records, June the eighteenth, nineteen thirty four.
And now, folks, another goodie from the UK.
Speaker 2 (46:03):
If the top.
Speaker 13 (47:26):
Think ditt.
Speaker 5 (48:59):
I'm British. There we just heard Jack Hilton and his
orchestra with the classic Hilton tune, the Hilton Stomp. So lionel,
I hope you just got your fix of some British
big band tunes as you requested, sing.
Speaker 6 (51:51):
Something that.
Speaker 5 (52:09):
Let's get together. Chickweb and his orchestra for Columbia Records,
recorded on January the fifteenth, nineteen thirty four, a Chickweb classic.
Now let's up our game from Let's get together to
let's get happy together.
Speaker 16 (53:11):
You'll high so am mine.
Speaker 7 (53:13):
Let's be halfy together, you blue me to let's forget
about dongy weather. You've lost your baby and I've lost mine.
Speaker 3 (53:24):
I've got the nickel and.
Speaker 4 (53:26):
You fly the dime.
Speaker 7 (53:27):
We'll drown our troubles and wine, so we'll be half
been together.
Speaker 16 (53:33):
Why should we worried just.
Speaker 7 (53:35):
Because they turned us down? Come on, baby, bless y'all that.
Speaker 2 (53:41):
We're nobody's clowning.
Speaker 13 (53:43):
Now you can dance and I can see.
Speaker 7 (53:46):
I've got the finger and you've got the rings. We
get the possums to fix this thing. So we'll be
half been together.
Speaker 9 (54:15):
Whatever the form, from forever.
Speaker 3 (54:58):
Why should the word just because they turned down. Come on, babe,
we'll show them.
Speaker 7 (55:06):
We'll show them that we're no clown. You can days, nagie.
I've got the finger in you doing so we will
be happy together.
Speaker 5 (55:22):
Lil Harden Armstrong and her Swing Orchestra, Let's Get Happy Together,
recorded February the second, nineteen thirty eight. And Friends. Now
as I look at the big Bullova clock firmly affixed
to the studio wall. Here in the crystal studio of
the Make Believe Ballroom, I must say it is regrettably
(55:44):
time to take a powder to vamoose, to vacate the
premises until next week. To reach me, I'm Jeff at
MakeBelieve Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroom
Radio dot com. To hear past shows that are archived
after they are broadcast on the radio, please go to
(56:06):
MakeBelieve Ballroom podcast dot com, make Believe Ballroom podcast dot com,
or visit your favorite podcast provider, whether that be Apple, Spotify, iHeartRadio.
We are on all of them. So, folks, until next week.
This has been Jeff Bresler.
Speaker 2 (57:42):
Just keep on dancing. Oh you've only a small room.
Make it your ball room. Last fas
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