August 15, 2025 • 58 mins
This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s -Frank Sinatra turned down for a job, a song that became a gold record 43 years after it was written, World War II tunes, plus many more great songs and stories to cherish and enjoy on this week's program.
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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.
It's make Belief ballroom time and free to everyone. It's
(00:33):
no time to friend your Dalis said bombs. Close your
eyes and visualize in your solitude. Your favorite bands are
on this dance And.
Speaker 2 (00:50):
Mister Miller, what's you're in the mood?
Speaker 1 (00:52):
It's make Believe ballroom time.
Speaker 3 (00:55):
We are a sweet romance is to make the lead bottom.
Speaker 1 (01:01):
Come on, Jill, the last dance Last.
Speaker 4 (01:07):
I'm Jeff Bresler, turning on the lights of the Make
Believe Ballroom and welcoming you into my Crystal studio for
another program of classic big band hits from the nineteen
thirties and nineteen forties. Please get ready as I play
for you some amazing big band jazz, swing, blues, and
boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom,
(01:32):
broadcasting almost continuously since nineteen thirty five. Hi, folks, and
welcome once again this week into the Crystal Studio. I
have fired up the turntable and I'm going to shall
we say ignited with well, how about a little jitterbug.
Speaker 5 (02:28):
Dubbed the Jitterbug just a silly look, young and wild
but lots of style. Is dub the Jitterbug just a
crazy mug drinks liquor. By the joke, he's alive with
lots of jive. Dubbed the Jitterbug. They threw him out
of school because all he learned was tiger ray.
Speaker 6 (02:49):
He never knew the Golden rule.
Speaker 5 (02:50):
The boy how he can shame? Dug the Jitterbug cuts
a wicked rug.
Speaker 6 (02:57):
It ain't no shame.
Speaker 5 (02:58):
He's not the blame. He's dubbed the j s.
Speaker 6 (03:31):
Blo.
Speaker 5 (04:08):
He studied to be a lawyer, but he never got
a kiss. Every time they look for that cat and court,
he'd be do win the Paddy Weiss. It's gonna talk
about it. Dub the Jitterbug cuts a wicked rugg. It
ain't no shame. He's not to blame. He's Doug the Jitterbug.
Speaker 4 (04:26):
On Decca Records from March the twenty ninth, nineteen thirty nine,
Doug the Jitterbug, Louis Jordan and his Timpany five Let
me play one more then, Perhaps the greatest crooner of
all time turned down by one of the greatest big
band Leaders of All Time did from Decca Records. For
(07:27):
Dancers Only, written by Cy Oliver and performed by Jimmy
Lunceford and his orchestra, recorded in New York City, June
the fifteenth, nineteen thirty seven, and No Friends, You're Not
Crazy for Dancers Only does share a thematic link with
the song Christopher Columbus because a portion of that tune,
(07:50):
I guess was indeed inspired by or derived from the
swing tune hit Christopher Columbus. I'm not Christopher Columbus but
Jeff Bressler, and you're listening to the weekly edition of
The Make Believe Ballroom. Dave Garaway Nay might sound familiar
to you. He was a brilliant radio and TV announcer
(08:14):
and host. Well actually, if I'm not wrong, Dave was
the first ever host of NBC's Today Show. He was
also the first host of NBC Radio network's program Monitor.
Some of you might recall the program Monitor was a
(08:35):
national weekend show being by NBC Radio to their affiliates,
and each week it featured news, sports, human interest stories,
a lot of celebrity in political interviews. So the cut
I'm about to play, I think was just pre Monitor
(08:57):
but it featured Dave garviewing Frank Sinatra, who on the
radio made a rather startling admission.
Speaker 7 (09:08):
Glenn Miller's band was touring across the country big one
night stands one after another. When they were doing that,
there was a young fellow named Frank Sinatra who was
also beginning to get a whole on the nation's hut. Frank,
where were you when you first heard the Miller band? Well, Davis,
as best I can.
Speaker 8 (09:26):
Remember, I first had the.
Speaker 7 (09:27):
Middle Band sometime between thirty eight and thirty nine, and
I was in New Jersey at the time. I was
segueing between trying to make a buck here and there
and Glenn first out of that new sounding band that
he had, and I believe at the time he was
at the Glen Island Casino. Yeah, what were you doing
yourself professionally? About the professionally, I used the word loosely.
(09:49):
I was working in a place called the Rustic Cabin.
It was a little saloon on the Route nine W
in New Jersey, just beyond the George Washington Bridge out
still there, we had a good look at the riviera
where all the big stars were working.
Speaker 5 (10:03):
And I was getting in.
Speaker 7 (10:04):
Those days what is commonly known as coffee and cake money,
except that the cake was getting very expensive in those days,
so I settled for cream, cheese and nothing date sandwiches. Rag,
Do you remember any interesting bits and connections.
Speaker 6 (10:16):
With the band?
Speaker 7 (10:17):
The first time I heard the Glenn Miller band, I.
Speaker 9 (10:18):
Walk up to him.
Speaker 7 (10:19):
I said, Glenn, I want a job. I really did,
but he was busy hiring a ray Ebie at the time,
and he said.
Speaker 9 (10:27):
You'll call me.
Speaker 7 (10:28):
I'll call you in essence, I mean, not seriously. But
I did get to meet Glenn quite early in my career,
and we became great friends as a matter of fact,
and there was no particular incident really that's too exciting,
except that every time I heard the band, I got
a big boot out of it. And I still do
want to hear some of the records that they made
in those days.
Speaker 6 (10:47):
I mean so.
Speaker 4 (10:48):
In this brief nineteen fifty four radio segment with Dave Garaway,
Frank Sinatra revealed that he was turned down for a
job as vocalist by Glenn Miller when Miller was forming
his new band in nineteen thirty eight. That is something
not included to my knowledge, in many of the biographies
(11:11):
written about Sinatra. Shortly after Frank got dissed, Harry James
asked him to join his band. And I'm going to
discuss that in just a moment. But during the Sinatra
interview the Garaway piece, Frank mentioned the Glen Island Casino
(11:33):
and Miller playing there. Glenn was very fond of the
Glen Island Casino, which was located in New Rochelle, New York,
and he honored the venue with this tune.
Speaker 5 (13:06):
Anything Anything, the.
Speaker 4 (13:16):
Things from Bluebird Records, Glen Island Special written and arranged
(14:50):
by Eddie Durham, Glenn Miller and his orchestra, recorded in
New York City, July the twenty sixth, nineteen thirty nine. So,
as I mentioned earlier, Sinatra, after getting dissed so to speak,
by Miller, landed his first Sinatra's first big job as
(15:10):
a vocalist with Harry James. Back in nineteen sixty eight,
Harry was interviewed on the radio by a DJ well
a DJ that many of our Philadelphia listeners might recall,
and I'm talking about Ken Garland who was on WIP Radio.
(15:32):
And during that interview, Harry James reminisced about how he
discovered Frank and why he allowed Sinatra to leave his
band in order to join the Tommy Dorsey Orchestra, where Frank,
as we all know, really made his mark.
Speaker 10 (15:52):
The legend girl was talking about hearing people that you
were lying in a hotel room and turned on the
radio and herd a remark from the rustic Cabin trip
in Englewood something, or rather New Jersey, and a singer
you liked pretty good had hired for the band, and
he was doing fairly well. And one day he came
to you and said, Harry, I got an offer from
(16:12):
Tommy Dorsey and I want to go, And you said,
go with my blessings. What do you think would have
happened to the history of the world if you would have.
Speaker 6 (16:20):
Said no the flanks or not?
Speaker 11 (16:22):
Well, I tell you this is quite a story, because
it is true that we were playing at the Paramount Theater,
New York, and I heard this remote and I went
out the next night and I went out to hear him,
and the manager I didn't want to let him sing
because he said he's the MC's I just let him
sing a song once in a while, But actually he's
there's the MC and Arson show. And he came over
to the table and sat down. The next day, came
down to the Paramount Theater and came with us and
(16:45):
unpeteen dollars a week. And unfortunately, most of the weeks
we couldn't afford to pan the seventy five because we
weren't making that much money. Yeah, and at the time,
his wife was just about two or three months await
and having the child, Nancy, And he said, as it's
kind of tough, he's in the hospital, bills and everything.
He said, I got a chance to go with Tommy.
He's gonna pay me one hundred and fifty dollars a week.
Speaker 10 (17:05):
Wow.
Speaker 11 (17:06):
So I said, well, that sounds wonderful to see if
you can get me on with you. But he still
owes me five months at seventy five hours a week.
And so I tease him and I say, okay, Frank,
come on, you're gonna sit in the bend. And says, okay, boss,
anytime you want it, let's go.
Speaker 10 (17:18):
I gotta high have the quote here. It says I'm
ready anytime, just call me and I'll be there on
the stand.
Speaker 11 (17:26):
That's a right, wouldn't I tell you. He's just the
kind of a guy who would do it too. Believe me, really, yes, sir,
He's a great.
Speaker 4 (17:32):
Man, great story, and now a great tune by Harry
James and Frank Sinatra.
Speaker 6 (17:44):
In the moon hangs low, there's a handsome gone every night.
Speaker 12 (17:56):
He seems so happy, So his lady love came here.
Speaker 6 (18:05):
In a manner, so buffy, sable.
Speaker 12 (18:10):
He repee Ti sadany, and his heart beat so forty samore.
Speaker 6 (18:21):
When she raises herbanies and the shade.
Speaker 12 (18:26):
Chur Rabin, chiverrabin, chiriverribin, cheery rabin.
Speaker 6 (18:33):
He waits for her, eats nighe beneath her balcony.
Speaker 12 (18:42):
Chiverybin.
Speaker 5 (18:44):
He begged to hold her tide, but nor'es she all agreed.
Speaker 6 (18:53):
Chur ribin. She throws a rose and blows a kid
from up a bar.
Speaker 12 (19:03):
Chur birby, chur bby, churre burbon. There's so in law,
(19:45):
churburb chur verb, churre verb, there's song in law.
Speaker 4 (20:00):
On Columbia Records, cheer a vera Ben by Harry James
and his orchestra, vocal by Francis Albert Sinatra, recorded in
Los Angeles, November the eighth, nineteen thirty nine. I'm Jeff Bresler,
and you're listening to the one, the only, the original
Make Believe Ballroom broadcast almost continuously since nineteen thirty five.
(20:26):
Let me play another record, then we will go to
a listener's email.
Speaker 7 (21:00):
Yeah, the man in the bad.
Speaker 2 (21:39):
M Boom boom boom b.
Speaker 6 (21:54):
M sayle.
Speaker 8 (22:09):
From the.
Speaker 4 (22:32):
Rose from Columbia, Northwest Passage by Woody Herman and his orchestra,
(23:44):
recorded March the first, nineteen forty five. A few weeks
back on the show, I discussed how Fletcher Henderson, the
great band leader, pianist, arranger and composer, hooked up with
Benny Goodman to sell him arrangement when Benny was in
need for a radio program, the radio show Let's Dance
(24:05):
that he was doing at the time, and that sale
of arrangements ultimately formed a great collaboration between Benny and Fletcher.
I also mentioned that, to my knowledge, Fletcher Henderson, who
I said played the piano, never appeared on a record
(24:25):
or radio program with the Goodman Band. So our avid listener,
Max Kitani, who lives in Italy, he did his magic
and he sent me this email. It reads hi, Jeff.
During the last edition of the Ballroom, I heard a
listener asking if Benny Goodman and Fletcher Henderson ever played together.
(24:49):
I found a radio program from nineteen thirty nine in which,
according to what is announced, Fletcher was at the piano.
So on one file I put the two tracks sent
for you Yesterday and pick a Rib. Henderson makes the
arrangements and plays the piano. I hope it satisfies the
(25:14):
curiosity of all of the listeners. Thank you very much
for your kind attention and pest regards from Max. Well,
Thanks Max, I have downloaded the file you sent me
two back to back Goodman and Henderson's from a radio program,
a program that I don't know the name of. The
two songs featured are sent for you Yesterday and pick
(25:37):
a Rib.
Speaker 13 (25:38):
The next number you'll hear the band play is an
old blue sent to you yesterday, and here you come today.
Speaker 6 (25:43):
Hey Benny. If that's the blues, what happened to the
words on it?
Speaker 2 (25:46):
Well?
Speaker 13 (25:47):
In our version of sent for you Yesterday, we've we've
loved the words bert and concentrated on the tune. And
now you'll hear Pletcha Henderson at the piano cuts Mondelo saxophone.
Diggy Ellman is the comped a seat and so yesterday, Hey,
here we go.
Speaker 9 (27:27):
The Acha Henderson's piano introduction is a signal for the
(28:46):
joint to start jumping as the band moves into pick
a rib a real stop tune of courses by Jimmy
Maxwell on the trumpet, puts my Dulla on the Sackson
Benny on clarinet, pick a rib.
Speaker 6 (29:17):
As different.
Speaker 8 (30:11):
The fack.
Speaker 4 (31:35):
Thank you Max for that MP three you put together
featuring both Benny Goodman and Fletcher Henderson. To reach me
from Italy or anywhere in between, I'm Jeff at Make
Believe Ballroom Radio dot com. That's Jeff at make Believe
Ballroom Radio dot com. And folks, speaking of anywhere in between,
(31:58):
our beloved producer emeritus, Lenny from down the Block will
not be here with his record Pick of the Week
this week. He and his wife Cookie, they are literally
somewhere in between. Lenny just got back from a cruise
a few weeks ago, I think I mentioned that on
the air, and he is now gallivanting with Cookie on
(32:20):
their annual RV caravan tour. Each year, Lenny and a
bunch of friends who own RV's while they hit the
road as a group a motley crew they are, I
guess from what Lenny told me, they are headed to
Texas this year. So the good life for Lenny and
Cookie as I sit in my one room basement apartment
(32:44):
with a light bulb swinging from the ceiling, Well not
really the case, but Lenny does indeed lead the good life,
and for you, Lenny and you're caravanning? Shall I say, cohorts,
how about Duke Ellington's caravan.
Speaker 2 (33:33):
Dent in.
Speaker 6 (33:42):
Your independent you ver?
Speaker 2 (35:03):
I mean, how about me? But don't all men me,
I'm not a don't tell one nothing my mother.
Speaker 4 (36:31):
On Master Records, Caravan by Duke Ellington and his famous orchestra,
recorded in New York City, May the fourteenth, nineteen thirty seven.
How about you say I'll play one more from the Duke?
Then the first time a song was ever recorded. I
know you all like that segment. Then a recording from
(36:53):
a listener with a cool request, gim me.
Speaker 6 (37:18):
Um meeting. I got to be a right, I gotta
(37:45):
hang out in the room.
Speaker 2 (37:49):
I got to be a rod. Gotta so my job,
will I rule?
Speaker 14 (37:57):
I was so untrusting, No, im super ducky that dangled again?
Speaker 2 (38:03):
So can I'll be you? I got to be a
rub swing on in the room.
Speaker 15 (38:46):
He really that gooding lamp boom lam lamb rab I
gonna be a room, Ye.
Speaker 2 (38:56):
Gotta lamboo lamb l m bad, I gotta be. We're swinging.
Speaker 4 (39:30):
I've got to be a rugcutter by Duke Ellington and
his famous orchestra. That one from Brunswick Records, recorded in
nineteen thirty seven. Vocal bye. I think the vocal on
that one. I don't have it written in front of me,
but it sounded like Ivy Anderson. I came across the
(39:53):
record I am about to play last week, and well,
it's really reaching deep into the well. As you know,
this show, The Make Believe Ballroom is dedicated to the
music of the nineteen thirties and forties, but occasionally I
delve into records that are a little older, say in
the nineteen twenties, and sometimes a little newer. Sometimes I'll
(40:16):
play a song from the early fifties. So this record,
the first time this song was ever recorded was back
in nineteen twenty seven, And you folks know I like
to play first time ever recorded records.
Speaker 15 (40:43):
Oohne, I'm down hornamed thought am ho we have hormimed.
I love you dial with we on the why I'm
so lonely? I'm writing you only to see your parafor me?
(41:10):
Are your long time tonight? Do you miss me tonight?
Speaker 16 (41:16):
Are you sorry?
Speaker 15 (41:17):
We do respin up? Stop your memory? Stray upright timorday?
When I kick you and call you sweet? To the
chair in your parlor team empty? And the do you
(41:41):
gain your doors had pig for me? He is your heart?
Steel we pain? Shall I call them? See you're a
far long time?
Speaker 16 (42:14):
I hold we're.
Speaker 15 (42:16):
Afection the fund recollection a romance thirties now gone by,
And often I wonder if I'm made up? Londer fine
letting you fit me good? Far to the car in
(43:05):
your parlor seem empty? And then you gave up your
golf Anti army is your heart? With pain?
Speaker 16 (43:21):
Trial Longe.
Speaker 4 (43:41):
From the Harmony label Are You Lonesome Tonight? Vocal by
Charles Hart, recorded May the ninth, nineteen twenty seven. The
are rolling Charles Hart not very famous, but the song
certainly went on to be some forty three years later.
(44:05):
As the story goes, Colonel Tom Parker, who many of
you know was Elvis Presley's mentor and manager, well his
wife Marion Mott her favorite song of all time was
Are You Lonesome Tonight?
Speaker 2 (44:21):
Now?
Speaker 4 (44:22):
Parker cajoled RCA Victor to have Elvis record the tune.
Elvis liked the song and he did record it, but
its release was actually delayed by RCA Victor executives. They
thought the song didn't fit Elvis's style at the time. Well,
(44:43):
lo and behold, when Are You Lonesome Tonight? Was released?
Finally released in November of nineteen sixty, it was an
immediate success. It topped Billboard's Pop Singles chart, and it
reached number three on the R and B chart. A
month after the song's release atopped the UK Singles chart.
(45:05):
Presley's version became a gold record for a million copies
sold in the United States in nineteen eighty three, and
it also ended up being upgraded to a two time
platinum record for two thousand sales in nineteen ninety two.
So a song without much fanfare from wayback in nineteen
(45:26):
twenty seven, performed by a little known vocalist one Charles Hart,
went on to become one of Elvis's most beloved hits.
I'm Jeff Bresler and you're listening to the make Believe Ballroom,
and I now want you to listen to a voicemail
we received last week.
Speaker 3 (45:47):
Hello Jeff Bresler, my name is Tom and I'm originally
from Long Island and listen to Make Believe Ballroom on
WNW back in the seventies with my mom. The host
at the time was Willy B. Greetings to Dylan, and
I hope he continues to familiarize himself with the big
(46:08):
band era of music. I think he would be surprised
at how the big band music is threaded in and
around World War Two. It may be worth it, Jeff
sometime to highlight warsongs, you know, like don't Sit under
the Apple Tree, Boogie Woogie, Bugle Boy, I'll be home
for Christmas. We'll meet again Apple Blossom time, you know,
(46:29):
songs like that. Keep up the good work, guys, and
I'll keep listening.
Speaker 4 (46:34):
Tom, thanks so much for your voicemail. I hold you
in high esteem as one of the few brave and
bold listeners who have actually left a voicemail instead of
an email before I proceed, though, you can leave a
voicemail by going to Make Believe Ballroom podcast dot com.
(46:56):
That's Make Believe Ballroom Podcast dot com That is where
I archive passed radio programs in this series. If you
go to the homepage and click on the microphone in
the lower right corner of the screen, you can leave
a voicemail that I will certainly be delighted to read
live on the air. Now, Tom to your request to
(47:19):
edgumicate Dylan, the snotty kid who who twenty one years
of age, is gaining an appreciation of the Big Band era. Dylan,
as many of you know, does a gaming podcast here
in the Crystal Studio radio complex and heard this show
to make believe, Ballroom piped through the halls as I
(47:41):
broadcast it, and he came into the studio a while
back and told me how much he actually enjoyed the music.
So Tom Dylan actually is away for several weeks. He's
working in a camp as a quote unquote gaming ca counselor. Now,
when I worked in camp, you could be a waterfront counselor,
(48:05):
or a bunk counselor, perhaps or a sports or nature
a counselor. But I don't think there was any hint
back then that sometime in the future there would be
a gaming counselors, unless one thought back then perhaps if
you were a gaming counselor, you gave strategies on games
(48:26):
like battleship and Monopoly. But Dylan is one a gaming counselor,
and not to delay your request, Tom, I sent Dylan
not a care package of candy and snacks, but an
MP three containing the following World War Two songs, and
I asked him to provide me with his two favorites
(48:49):
to play today. I sent him a Boogie Woogie bugle Boy,
I'll be home for Christmas. Don't sit under the apple
tree vera Lynz will again apple blossom time. Those were
your mentions, Tom. I also included to accentuate the positive
by the Andrew sisters and being Crosby, sort of a
(49:12):
home front morale song as well. I sent Dylan Gi
jive and bell bottom trousers. Now Dylan must be bored
at camp because he sent me his top two favorites
pretty quickly. Might be snotty, but he is a responsible lad.
And now for you, Tom and audience, World War Two
(49:35):
songs picked by a twenty one year old Dylan, first
a wild card from the group.
Speaker 5 (50:10):
Once there was a little girl who lived next to me,
and she loved a sailor boy.
Speaker 2 (50:18):
He was only three.
Speaker 6 (50:21):
Now he's on a battleship in.
Speaker 2 (50:24):
His sailor suit.
Speaker 6 (50:27):
Just a great, big sailor man, but he's just as cute.
Speaker 17 (50:32):
Foul bottom trousers, coat of navy blues. She loves her
saila and he loves her too. When they walk along
the street, any one can see they are all so much.
Speaker 15 (50:53):
In love, happy as can be, and in hand they
stroll along.
Speaker 2 (50:59):
They don't give a hoot. He won't let go of
her hand.
Speaker 17 (51:05):
Even two salutes.
Speaker 14 (51:08):
Fou bottom trousers, coat of navy blues.
Speaker 2 (51:13):
She loves her sailor, and he loves her too.
Speaker 8 (51:24):
Everywhere her sailor went, she was sure to go, till
one day he sail away where she doesn't know. Now
she's gonna join the waves.
Speaker 6 (51:37):
Maybe go to see you.
Speaker 18 (51:40):
Try to find her sailor boy wherever he may be.
Quote of navy blue Sha, and he loves her too.
If her sailor she can't find on the bonding Maine,
(52:02):
she is hopeful he will swim come home safe again,
so they can get married and raise a family. Dress
up all a gitties in sailors, dungle reeves, bell bottom trowsers, call.
Speaker 6 (52:21):
Of Naty Blue. She loves a sailor boy and he
loves a jew.
Speaker 4 (52:41):
On Victor Records, recorded in nineteen forty five, Bell Bottom
Trousers by Tony Pastor and his orchestra vocal by Ruth
McCullough and Tony Pastor. And when Dylan is back in
the studio, I'm gonna have to get him to explain
on the air why he made that choice. Is certainly
(53:03):
a wild card choice, as I said. And now Dylan
the snotty Kid's favorite choice for the World War Two
songs I sent him.
Speaker 14 (53:30):
He was a famous drumpet man from a Chicago way.
He had a bookie down and no one else could play.
Speaker 2 (53:36):
He was a top man at his craft.
Speaker 14 (53:39):
But then his number came up and he was gone
with the draft. He's in the army now a blowing revee.
He's the Boogie Boogie bugle bar a company.
Speaker 2 (53:47):
They made him.
Speaker 8 (53:48):
Blow a bugle bar his uncle Sam.
Speaker 14 (53:50):
It really brought him down because he couldn't jam. The
captain seen to understand because the next day the cat
went out and drafted a band. And now the company
when he plays Revelly, here's the Boogey.
Speaker 2 (54:02):
Wogy bugle Bar.
Speaker 14 (54:03):
A company B A two two two diplos to the
bar in bogy rizzle. He can't blow an unless the
fass and guitar is playing with them.
Speaker 2 (54:16):
He makes a company jump when he plays reveling. Here's
the Boogey bogey bugle bar of Company B. He was
a bogey bogy bugle boar a Company B.
Speaker 17 (54:28):
When he plays Boogy boogy bogle, he was busy as
a bb. And when he plays, he makes a company
jump into the bar.
Speaker 2 (54:36):
Here's a body a Company B to diplos to the bar.
Speaker 17 (54:45):
He can't blow him out in the bass and guitarism
with and the company jumps when he plays revelly. He's
the booky wooky a company B.
Speaker 14 (55:14):
I got some moist to sleep with boogie every night
and wakes him up the same way in the early right.
Speaker 2 (55:19):
They cut their hands and stamp their feet because they
know how he plays. When someone gives him a beat,
he really breaks it up. My nameless revelle. Here is
the book. He will give you a.
Speaker 14 (55:30):
Bottle company bed.
Speaker 6 (55:43):
Hand.
Speaker 2 (55:44):
The company jumps on English rebelly. He is the bookie
woogie bugle bot a company BE.
Speaker 4 (55:52):
That was boogie woogie bugle boy by the Andrews Sisters
Orchestra conducted by Vic Shane, and you view my remember
that song ever hearing that song for the first time
when you were watching the Avenu Costello film on television,
Buck Privates. Thanks Tom, that was certainly a lot of fun.
(56:13):
And be assured that at your request, I will play
more World War two themed songs in the future. So
the big Bullova clock on the wall shows we are
at fifty six twenty into the show, so less than
two minutes remaining. Unfortunately, that means we are just about
out of time this week. I did while I was
(56:35):
playing a record a little while back, look up where
that Benny Goodman Fletcher Henderson radio program was from, and
it was from a nineteen thirty eight episode of Benny's
Camel Caravan show. To reach me, I'm Jeff at MakeBelieve
Ballroomradio dot com. It's Jeff at MakeBelieve Ballroom Radio dot com.
(56:58):
And to hear past radio broad casts, please go to
make Believe Ballroom Podcast dot com. Let's Make Believe Ballroom
Podcast dot com. So until next week, this has been
Jeff Bresler
It's make Believe ballroom time. Put all your cares away.
All the bands are here to bring good cheer your way.
It's make Belief ballroom time and free to everyone. It's
(00:33):
no time to friend your Dalis said bombs. Close your
eyes and visualize in your solitude. Your favorite bands are
on this dance And.
Speaker 2 (00:50):
Mister Miller, what's you're in the mood?
Speaker 1 (00:52):
It's make Believe ballroom time.
Speaker 3 (00:55):
We are a sweet romance is to make the lead bottom.
Speaker 1 (01:01):
Come on, Jill, the last dance Last.
Speaker 4 (01:07):
I'm Jeff Bresler, turning on the lights of the Make
Believe Ballroom and welcoming you into my Crystal studio for
another program of classic big band hits from the nineteen
thirties and nineteen forties. Please get ready as I play
for you some amazing big band jazz, swing, blues, and
boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom,
(01:32):
broadcasting almost continuously since nineteen thirty five. Hi, folks, and
welcome once again this week into the Crystal Studio. I
have fired up the turntable and I'm going to shall
we say ignited with well, how about a little jitterbug.
Speaker 5 (02:28):
Dubbed the Jitterbug just a silly look, young and wild
but lots of style. Is dub the Jitterbug just a
crazy mug drinks liquor. By the joke, he's alive with
lots of jive. Dubbed the Jitterbug. They threw him out
of school because all he learned was tiger ray.
Speaker 6 (02:49):
He never knew the Golden rule.
Speaker 5 (02:50):
The boy how he can shame? Dug the Jitterbug cuts
a wicked rug.
Speaker 6 (02:57):
It ain't no shame.
Speaker 5 (02:58):
He's not the blame. He's dubbed the j s.
Speaker 6 (03:31):
Blo.
Speaker 5 (04:08):
He studied to be a lawyer, but he never got
a kiss. Every time they look for that cat and court,
he'd be do win the Paddy Weiss. It's gonna talk
about it. Dub the Jitterbug cuts a wicked rugg. It
ain't no shame. He's not to blame. He's Doug the Jitterbug.
Speaker 4 (04:26):
On Decca Records from March the twenty ninth, nineteen thirty nine,
Doug the Jitterbug, Louis Jordan and his Timpany five Let
me play one more then, Perhaps the greatest crooner of
all time turned down by one of the greatest big
band Leaders of All Time did from Decca Records. For
(07:27):
Dancers Only, written by Cy Oliver and performed by Jimmy
Lunceford and his orchestra, recorded in New York City, June
the fifteenth, nineteen thirty seven, and No Friends, You're Not
Crazy for Dancers Only does share a thematic link with
the song Christopher Columbus because a portion of that tune,
(07:50):
I guess was indeed inspired by or derived from the
swing tune hit Christopher Columbus. I'm not Christopher Columbus but
Jeff Bressler, and you're listening to the weekly edition of
The Make Believe Ballroom. Dave Garaway Nay might sound familiar
to you. He was a brilliant radio and TV announcer
(08:14):
and host. Well actually, if I'm not wrong, Dave was
the first ever host of NBC's Today Show. He was
also the first host of NBC Radio network's program Monitor.
Some of you might recall the program Monitor was a
(08:35):
national weekend show being by NBC Radio to their affiliates,
and each week it featured news, sports, human interest stories,
a lot of celebrity in political interviews. So the cut
I'm about to play, I think was just pre Monitor
(08:57):
but it featured Dave garviewing Frank Sinatra, who on the
radio made a rather startling admission.
Speaker 7 (09:08):
Glenn Miller's band was touring across the country big one
night stands one after another. When they were doing that,
there was a young fellow named Frank Sinatra who was
also beginning to get a whole on the nation's hut. Frank,
where were you when you first heard the Miller band? Well, Davis,
as best I can.
Speaker 8 (09:26):
Remember, I first had the.
Speaker 7 (09:27):
Middle Band sometime between thirty eight and thirty nine, and
I was in New Jersey at the time. I was
segueing between trying to make a buck here and there
and Glenn first out of that new sounding band that
he had, and I believe at the time he was
at the Glen Island Casino. Yeah, what were you doing
yourself professionally? About the professionally, I used the word loosely.
(09:49):
I was working in a place called the Rustic Cabin.
It was a little saloon on the Route nine W
in New Jersey, just beyond the George Washington Bridge out
still there, we had a good look at the riviera
where all the big stars were working.
Speaker 5 (10:03):
And I was getting in.
Speaker 7 (10:04):
Those days what is commonly known as coffee and cake money,
except that the cake was getting very expensive in those days,
so I settled for cream, cheese and nothing date sandwiches. Rag,
Do you remember any interesting bits and connections.
Speaker 6 (10:16):
With the band?
Speaker 7 (10:17):
The first time I heard the Glenn Miller band, I.
Speaker 9 (10:18):
Walk up to him.
Speaker 7 (10:19):
I said, Glenn, I want a job. I really did,
but he was busy hiring a ray Ebie at the time,
and he said.
Speaker 9 (10:27):
You'll call me.
Speaker 7 (10:28):
I'll call you in essence, I mean, not seriously. But
I did get to meet Glenn quite early in my career,
and we became great friends as a matter of fact,
and there was no particular incident really that's too exciting,
except that every time I heard the band, I got
a big boot out of it. And I still do
want to hear some of the records that they made
in those days.
Speaker 6 (10:47):
I mean so.
Speaker 4 (10:48):
In this brief nineteen fifty four radio segment with Dave Garaway,
Frank Sinatra revealed that he was turned down for a
job as vocalist by Glenn Miller when Miller was forming
his new band in nineteen thirty eight. That is something
not included to my knowledge, in many of the biographies
(11:11):
written about Sinatra. Shortly after Frank got dissed, Harry James
asked him to join his band. And I'm going to
discuss that in just a moment. But during the Sinatra
interview the Garaway piece, Frank mentioned the Glen Island Casino
(11:33):
and Miller playing there. Glenn was very fond of the
Glen Island Casino, which was located in New Rochelle, New York,
and he honored the venue with this tune.
Speaker 5 (13:06):
Anything Anything, the.
Speaker 4 (13:16):
Things from Bluebird Records, Glen Island Special written and arranged
(14:50):
by Eddie Durham, Glenn Miller and his orchestra, recorded in
New York City, July the twenty sixth, nineteen thirty nine. So,
as I mentioned earlier, Sinatra, after getting dissed so to speak,
by Miller, landed his first Sinatra's first big job as
(15:10):
a vocalist with Harry James. Back in nineteen sixty eight,
Harry was interviewed on the radio by a DJ well
a DJ that many of our Philadelphia listeners might recall,
and I'm talking about Ken Garland who was on WIP Radio.
(15:32):
And during that interview, Harry James reminisced about how he
discovered Frank and why he allowed Sinatra to leave his
band in order to join the Tommy Dorsey Orchestra, where Frank,
as we all know, really made his mark.
Speaker 10 (15:52):
The legend girl was talking about hearing people that you
were lying in a hotel room and turned on the
radio and herd a remark from the rustic Cabin trip
in Englewood something, or rather New Jersey, and a singer
you liked pretty good had hired for the band, and
he was doing fairly well. And one day he came
to you and said, Harry, I got an offer from
(16:12):
Tommy Dorsey and I want to go, And you said,
go with my blessings. What do you think would have
happened to the history of the world if you would have.
Speaker 6 (16:20):
Said no the flanks or not?
Speaker 11 (16:22):
Well, I tell you this is quite a story, because
it is true that we were playing at the Paramount Theater,
New York, and I heard this remote and I went
out the next night and I went out to hear him,
and the manager I didn't want to let him sing
because he said he's the MC's I just let him
sing a song once in a while, But actually he's
there's the MC and Arson show. And he came over
to the table and sat down. The next day, came
down to the Paramount Theater and came with us and
(16:45):
unpeteen dollars a week. And unfortunately, most of the weeks
we couldn't afford to pan the seventy five because we
weren't making that much money. Yeah, and at the time,
his wife was just about two or three months await
and having the child, Nancy, And he said, as it's
kind of tough, he's in the hospital, bills and everything.
He said, I got a chance to go with Tommy.
He's gonna pay me one hundred and fifty dollars a week.
Speaker 10 (17:05):
Wow.
Speaker 11 (17:06):
So I said, well, that sounds wonderful to see if
you can get me on with you. But he still
owes me five months at seventy five hours a week.
And so I tease him and I say, okay, Frank,
come on, you're gonna sit in the bend. And says, okay, boss,
anytime you want it, let's go.
Speaker 10 (17:18):
I gotta high have the quote here. It says I'm
ready anytime, just call me and I'll be there on
the stand.
Speaker 11 (17:26):
That's a right, wouldn't I tell you. He's just the
kind of a guy who would do it too. Believe me, really, yes, sir,
He's a great.
Speaker 4 (17:32):
Man, great story, and now a great tune by Harry
James and Frank Sinatra.
Speaker 6 (17:44):
In the moon hangs low, there's a handsome gone every night.
Speaker 12 (17:56):
He seems so happy, So his lady love came here.
Speaker 6 (18:05):
In a manner, so buffy, sable.
Speaker 12 (18:10):
He repee Ti sadany, and his heart beat so forty samore.
Speaker 6 (18:21):
When she raises herbanies and the shade.
Speaker 12 (18:26):
Chur Rabin, chiverrabin, chiriverribin, cheery rabin.
Speaker 6 (18:33):
He waits for her, eats nighe beneath her balcony.
Speaker 12 (18:42):
Chiverybin.
Speaker 5 (18:44):
He begged to hold her tide, but nor'es she all agreed.
Speaker 6 (18:53):
Chur ribin. She throws a rose and blows a kid
from up a bar.
Speaker 12 (19:03):
Chur birby, chur bby, churre burbon. There's so in law,
(19:45):
churburb chur verb, churre verb, there's song in law.
Speaker 4 (20:00):
On Columbia Records, cheer a vera Ben by Harry James
and his orchestra, vocal by Francis Albert Sinatra, recorded in
Los Angeles, November the eighth, nineteen thirty nine. I'm Jeff Bresler,
and you're listening to the one, the only, the original
Make Believe Ballroom broadcast almost continuously since nineteen thirty five.
(20:26):
Let me play another record, then we will go to
a listener's email.
Speaker 7 (21:00):
Yeah, the man in the bad.
Speaker 2 (21:39):
M Boom boom boom b.
Speaker 6 (21:54):
M sayle.
Speaker 8 (22:09):
From the.
Speaker 4 (22:32):
Rose from Columbia, Northwest Passage by Woody Herman and his orchestra,
(23:44):
recorded March the first, nineteen forty five. A few weeks
back on the show, I discussed how Fletcher Henderson, the
great band leader, pianist, arranger and composer, hooked up with
Benny Goodman to sell him arrangement when Benny was in
need for a radio program, the radio show Let's Dance
(24:05):
that he was doing at the time, and that sale
of arrangements ultimately formed a great collaboration between Benny and Fletcher.
I also mentioned that, to my knowledge, Fletcher Henderson, who
I said played the piano, never appeared on a record
(24:25):
or radio program with the Goodman Band. So our avid listener,
Max Kitani, who lives in Italy, he did his magic
and he sent me this email. It reads hi, Jeff.
During the last edition of the Ballroom, I heard a
listener asking if Benny Goodman and Fletcher Henderson ever played together.
(24:49):
I found a radio program from nineteen thirty nine in which,
according to what is announced, Fletcher was at the piano.
So on one file I put the two tracks sent
for you Yesterday and pick a Rib. Henderson makes the
arrangements and plays the piano. I hope it satisfies the
(25:14):
curiosity of all of the listeners. Thank you very much
for your kind attention and pest regards from Max. Well,
Thanks Max, I have downloaded the file you sent me
two back to back Goodman and Henderson's from a radio program,
a program that I don't know the name of. The
two songs featured are sent for you Yesterday and pick
(25:37):
a Rib.
Speaker 13 (25:38):
The next number you'll hear the band play is an
old blue sent to you yesterday, and here you come today.
Speaker 6 (25:43):
Hey Benny. If that's the blues, what happened to the
words on it?
Speaker 2 (25:46):
Well?
Speaker 13 (25:47):
In our version of sent for you Yesterday, we've we've
loved the words bert and concentrated on the tune. And
now you'll hear Pletcha Henderson at the piano cuts Mondelo saxophone.
Diggy Ellman is the comped a seat and so yesterday, Hey,
here we go.
Speaker 9 (27:27):
The Acha Henderson's piano introduction is a signal for the
(28:46):
joint to start jumping as the band moves into pick
a rib a real stop tune of courses by Jimmy
Maxwell on the trumpet, puts my Dulla on the Sackson
Benny on clarinet, pick a rib.
Speaker 6 (29:17):
As different.
Speaker 8 (30:11):
The fack.
Speaker 4 (31:35):
Thank you Max for that MP three you put together
featuring both Benny Goodman and Fletcher Henderson. To reach me
from Italy or anywhere in between, I'm Jeff at Make
Believe Ballroom Radio dot com. That's Jeff at make Believe
Ballroom Radio dot com. And folks, speaking of anywhere in between,
(31:58):
our beloved producer emeritus, Lenny from down the Block will
not be here with his record Pick of the Week
this week. He and his wife Cookie, they are literally
somewhere in between. Lenny just got back from a cruise
a few weeks ago, I think I mentioned that on
the air, and he is now gallivanting with Cookie on
(32:20):
their annual RV caravan tour. Each year, Lenny and a
bunch of friends who own RV's while they hit the
road as a group a motley crew they are, I
guess from what Lenny told me, they are headed to
Texas this year. So the good life for Lenny and
Cookie as I sit in my one room basement apartment
(32:44):
with a light bulb swinging from the ceiling, Well not
really the case, but Lenny does indeed lead the good life,
and for you, Lenny and you're caravanning? Shall I say, cohorts,
how about Duke Ellington's caravan.
Speaker 2 (33:33):
Dent in.
Speaker 6 (33:42):
Your independent you ver?
Speaker 2 (35:03):
I mean, how about me? But don't all men me,
I'm not a don't tell one nothing my mother.
Speaker 4 (36:31):
On Master Records, Caravan by Duke Ellington and his famous orchestra,
recorded in New York City, May the fourteenth, nineteen thirty seven.
How about you say I'll play one more from the Duke?
Then the first time a song was ever recorded. I
know you all like that segment. Then a recording from
(36:53):
a listener with a cool request, gim me.
Speaker 6 (37:18):
Um meeting. I got to be a right, I gotta
(37:45):
hang out in the room.
Speaker 2 (37:49):
I got to be a rod. Gotta so my job,
will I rule?
Speaker 14 (37:57):
I was so untrusting, No, im super ducky that dangled again?
Speaker 2 (38:03):
So can I'll be you? I got to be a
rub swing on in the room.
Speaker 15 (38:46):
He really that gooding lamp boom lam lamb rab I
gonna be a room, Ye.
Speaker 2 (38:56):
Gotta lamboo lamb l m bad, I gotta be. We're swinging.
Speaker 4 (39:30):
I've got to be a rugcutter by Duke Ellington and
his famous orchestra. That one from Brunswick Records, recorded in
nineteen thirty seven. Vocal bye. I think the vocal on
that one. I don't have it written in front of me,
but it sounded like Ivy Anderson. I came across the
(39:53):
record I am about to play last week, and well,
it's really reaching deep into the well. As you know,
this show, The Make Believe Ballroom is dedicated to the
music of the nineteen thirties and forties, but occasionally I
delve into records that are a little older, say in
the nineteen twenties, and sometimes a little newer. Sometimes I'll
(40:16):
play a song from the early fifties. So this record,
the first time this song was ever recorded was back
in nineteen twenty seven, And you folks know I like
to play first time ever recorded records.
Speaker 15 (40:43):
Oohne, I'm down hornamed thought am ho we have hormimed.
I love you dial with we on the why I'm
so lonely? I'm writing you only to see your parafor me?
(41:10):
Are your long time tonight? Do you miss me tonight?
Speaker 16 (41:16):
Are you sorry?
Speaker 15 (41:17):
We do respin up? Stop your memory? Stray upright timorday?
When I kick you and call you sweet? To the
chair in your parlor team empty? And the do you
(41:41):
gain your doors had pig for me? He is your heart?
Steel we pain? Shall I call them? See you're a
far long time?
Speaker 16 (42:14):
I hold we're.
Speaker 15 (42:16):
Afection the fund recollection a romance thirties now gone by,
And often I wonder if I'm made up? Londer fine
letting you fit me good? Far to the car in
(43:05):
your parlor seem empty? And then you gave up your
golf Anti army is your heart? With pain?
Speaker 16 (43:21):
Trial Longe.
Speaker 4 (43:41):
From the Harmony label Are You Lonesome Tonight? Vocal by
Charles Hart, recorded May the ninth, nineteen twenty seven. The
are rolling Charles Hart not very famous, but the song
certainly went on to be some forty three years later.
(44:05):
As the story goes, Colonel Tom Parker, who many of
you know was Elvis Presley's mentor and manager, well his
wife Marion Mott her favorite song of all time was
Are You Lonesome Tonight?
Speaker 2 (44:21):
Now?
Speaker 4 (44:22):
Parker cajoled RCA Victor to have Elvis record the tune.
Elvis liked the song and he did record it, but
its release was actually delayed by RCA Victor executives. They
thought the song didn't fit Elvis's style at the time. Well,
(44:43):
lo and behold, when Are You Lonesome Tonight? Was released?
Finally released in November of nineteen sixty, it was an
immediate success. It topped Billboard's Pop Singles chart, and it
reached number three on the R and B chart. A
month after the song's release atopped the UK Singles chart.
(45:05):
Presley's version became a gold record for a million copies
sold in the United States in nineteen eighty three, and
it also ended up being upgraded to a two time
platinum record for two thousand sales in nineteen ninety two.
So a song without much fanfare from wayback in nineteen
(45:26):
twenty seven, performed by a little known vocalist one Charles Hart,
went on to become one of Elvis's most beloved hits.
I'm Jeff Bresler and you're listening to the make Believe Ballroom,
and I now want you to listen to a voicemail
we received last week.
Speaker 3 (45:47):
Hello Jeff Bresler, my name is Tom and I'm originally
from Long Island and listen to Make Believe Ballroom on
WNW back in the seventies with my mom. The host
at the time was Willy B. Greetings to Dylan, and
I hope he continues to familiarize himself with the big
(46:08):
band era of music. I think he would be surprised
at how the big band music is threaded in and
around World War Two. It may be worth it, Jeff
sometime to highlight warsongs, you know, like don't Sit under
the Apple Tree, Boogie Woogie, Bugle Boy, I'll be home
for Christmas. We'll meet again Apple Blossom time, you know,
(46:29):
songs like that. Keep up the good work, guys, and
I'll keep listening.
Speaker 4 (46:34):
Tom, thanks so much for your voicemail. I hold you
in high esteem as one of the few brave and
bold listeners who have actually left a voicemail instead of
an email before I proceed, though, you can leave a
voicemail by going to Make Believe Ballroom podcast dot com.
(46:56):
That's Make Believe Ballroom Podcast dot com That is where
I archive passed radio programs in this series. If you
go to the homepage and click on the microphone in
the lower right corner of the screen, you can leave
a voicemail that I will certainly be delighted to read
live on the air. Now, Tom to your request to
(47:19):
edgumicate Dylan, the snotty kid who who twenty one years
of age, is gaining an appreciation of the Big Band era. Dylan,
as many of you know, does a gaming podcast here
in the Crystal Studio radio complex and heard this show
to make believe, Ballroom piped through the halls as I
(47:41):
broadcast it, and he came into the studio a while
back and told me how much he actually enjoyed the music.
So Tom Dylan actually is away for several weeks. He's
working in a camp as a quote unquote gaming ca counselor. Now,
when I worked in camp, you could be a waterfront counselor,
(48:05):
or a bunk counselor, perhaps or a sports or nature
a counselor. But I don't think there was any hint
back then that sometime in the future there would be
a gaming counselors, unless one thought back then perhaps if
you were a gaming counselor, you gave strategies on games
(48:26):
like battleship and Monopoly. But Dylan is one a gaming counselor,
and not to delay your request, Tom, I sent Dylan
not a care package of candy and snacks, but an
MP three containing the following World War Two songs, and
I asked him to provide me with his two favorites
(48:49):
to play today. I sent him a Boogie Woogie bugle Boy,
I'll be home for Christmas. Don't sit under the apple
tree vera Lynz will again apple blossom time. Those were
your mentions, Tom. I also included to accentuate the positive
by the Andrew sisters and being Crosby, sort of a
(49:12):
home front morale song as well. I sent Dylan Gi
jive and bell bottom trousers. Now Dylan must be bored
at camp because he sent me his top two favorites
pretty quickly. Might be snotty, but he is a responsible lad.
And now for you, Tom and audience, World War Two
(49:35):
songs picked by a twenty one year old Dylan, first
a wild card from the group.
Speaker 5 (50:10):
Once there was a little girl who lived next to me,
and she loved a sailor boy.
Speaker 2 (50:18):
He was only three.
Speaker 6 (50:21):
Now he's on a battleship in.
Speaker 2 (50:24):
His sailor suit.
Speaker 6 (50:27):
Just a great, big sailor man, but he's just as cute.
Speaker 17 (50:32):
Foul bottom trousers, coat of navy blues. She loves her
saila and he loves her too. When they walk along
the street, any one can see they are all so much.
Speaker 15 (50:53):
In love, happy as can be, and in hand they
stroll along.
Speaker 2 (50:59):
They don't give a hoot. He won't let go of
her hand.
Speaker 17 (51:05):
Even two salutes.
Speaker 14 (51:08):
Fou bottom trousers, coat of navy blues.
Speaker 2 (51:13):
She loves her sailor, and he loves her too.
Speaker 8 (51:24):
Everywhere her sailor went, she was sure to go, till
one day he sail away where she doesn't know. Now
she's gonna join the waves.
Speaker 6 (51:37):
Maybe go to see you.
Speaker 18 (51:40):
Try to find her sailor boy wherever he may be.
Quote of navy blue Sha, and he loves her too.
If her sailor she can't find on the bonding Maine,
(52:02):
she is hopeful he will swim come home safe again,
so they can get married and raise a family. Dress
up all a gitties in sailors, dungle reeves, bell bottom trowsers, call.
Speaker 6 (52:21):
Of Naty Blue. She loves a sailor boy and he
loves a jew.
Speaker 4 (52:41):
On Victor Records, recorded in nineteen forty five, Bell Bottom
Trousers by Tony Pastor and his orchestra vocal by Ruth
McCullough and Tony Pastor. And when Dylan is back in
the studio, I'm gonna have to get him to explain
on the air why he made that choice. Is certainly
(53:03):
a wild card choice, as I said. And now Dylan
the snotty Kid's favorite choice for the World War Two
songs I sent him.
Speaker 14 (53:30):
He was a famous drumpet man from a Chicago way.
He had a bookie down and no one else could play.
Speaker 2 (53:36):
He was a top man at his craft.
Speaker 14 (53:39):
But then his number came up and he was gone
with the draft. He's in the army now a blowing revee.
He's the Boogie Boogie bugle bar a company.
Speaker 2 (53:47):
They made him.
Speaker 8 (53:48):
Blow a bugle bar his uncle Sam.
Speaker 14 (53:50):
It really brought him down because he couldn't jam. The
captain seen to understand because the next day the cat
went out and drafted a band. And now the company
when he plays Revelly, here's the Boogey.
Speaker 2 (54:02):
Wogy bugle Bar.
Speaker 14 (54:03):
A company B A two two two diplos to the
bar in bogy rizzle. He can't blow an unless the
fass and guitar is playing with them.
Speaker 2 (54:16):
He makes a company jump when he plays reveling. Here's
the Boogey bogey bugle bar of Company B. He was
a bogey bogy bugle boar a Company B.
Speaker 17 (54:28):
When he plays Boogy boogy bogle, he was busy as
a bb. And when he plays, he makes a company
jump into the bar.
Speaker 2 (54:36):
Here's a body a Company B to diplos to the bar.
Speaker 17 (54:45):
He can't blow him out in the bass and guitarism
with and the company jumps when he plays revelly. He's
the booky wooky a company B.
Speaker 14 (55:14):
I got some moist to sleep with boogie every night
and wakes him up the same way in the early right.
Speaker 2 (55:19):
They cut their hands and stamp their feet because they
know how he plays. When someone gives him a beat,
he really breaks it up. My nameless revelle. Here is
the book. He will give you a.
Speaker 14 (55:30):
Bottle company bed.
Speaker 6 (55:43):
Hand.
Speaker 2 (55:44):
The company jumps on English rebelly. He is the bookie
woogie bugle bot a company BE.
Speaker 4 (55:52):
That was boogie woogie bugle boy by the Andrews Sisters
Orchestra conducted by Vic Shane, and you view my remember
that song ever hearing that song for the first time
when you were watching the Avenu Costello film on television,
Buck Privates. Thanks Tom, that was certainly a lot of fun.
(56:13):
And be assured that at your request, I will play
more World War two themed songs in the future. So
the big Bullova clock on the wall shows we are
at fifty six twenty into the show, so less than
two minutes remaining. Unfortunately, that means we are just about
out of time this week. I did while I was
(56:35):
playing a record a little while back, look up where
that Benny Goodman Fletcher Henderson radio program was from, and
it was from a nineteen thirty eight episode of Benny's
Camel Caravan show. To reach me, I'm Jeff at MakeBelieve
Ballroomradio dot com. It's Jeff at MakeBelieve Ballroom Radio dot com.
(56:58):
And to hear past radio broad casts, please go to
make Believe Ballroom Podcast dot com. Let's Make Believe Ballroom
Podcast dot com. So until next week, this has been
Jeff Bresler
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