WEBVTT
1
00:00:12.160 --> 00:00:14.720
It's make Believe Ballroom time.
2
00:00:15.480 --> 00:00:17.800
Put all your cares away.
3
00:00:19.719 --> 00:00:23.640
All the bands are here to bring good cheer your way.
4
00:00:25.519 --> 00:00:33.320
It's make Believe ball time and free to everyone. It's
5
00:00:33.399 --> 00:00:40.200
no time to friend your Dalis said Bobs.
6
00:00:40.320 --> 00:00:42.000
Close your eyes.
7
00:00:41.600 --> 00:00:44.119
And as you lie in.
8
00:00:44.000 --> 00:00:47.280
Your solitude, your.
9
00:00:46.880 --> 00:00:50.960
Favorite bands are on the stands and mister Miller, but
10
00:00:51.159 --> 00:00:54.759
you're in the wood. Its Make Believe ballom time.
11
00:00:56.039 --> 00:01:02.719
Are a sweet romance is to make Come on jo
12
00:01:02.880 --> 00:01:04.359
the last dass last.
13
00:01:06.239 --> 00:01:10.519
Hello world, I'm Jeff Bresler, turning on the lights of
14
00:01:10.599 --> 00:01:14.760
the Make Believe Ballroom and welcoming you into my Crystal
15
00:01:14.879 --> 00:01:19.480
studio for another program of classic big band music from
16
00:01:19.480 --> 00:01:23.519
the nineteen thirties and forties. Please get ready as I
17
00:01:23.599 --> 00:01:27.519
play for you some amazing jazz, swing, blues, and boogie
18
00:01:27.560 --> 00:01:33.000
woogie favorites. Folks, you're listening to the Make Believe Ballroom,
19
00:01:33.200 --> 00:01:39.680
broadcasting almost continuously since nineteen thirty five. And welcome, Welcome, Welcome,
20
00:01:39.719 --> 00:01:43.159
one and all into the Crystal Studio, and thanks so
21
00:01:43.319 --> 00:01:46.959
much for joining me today. Let's start off with a
22
00:01:47.120 --> 00:01:51.400
Glenn Miller tune Glenn Millerton that I think has well
23
00:01:51.519 --> 00:04:35.839
had some personal distinction for mister Miller.
24
00:02:53.120 --> 00:06:51.120
Laying Anything Yeah.
25
00:05:08.759 --> 00:05:13.279
Recorded on April twenty eighth, nineteen forty on Bluebird Records,
26
00:05:13.399 --> 00:05:19.120
the Walter Donaldson standard My Blue Heaven Glenn Miller and
27
00:05:19.240 --> 00:05:25.759
his Orchestra, And you know, I think, well Glenn Miller
28
00:05:25.800 --> 00:05:29.959
on the trombone, going head to head, say with Jack T.
29
00:05:30.160 --> 00:05:35.199
Garden and Tommy Dorsey would finish third. But on this
30
00:05:35.360 --> 00:05:39.600
rendition of My Blue Heaven, the record does contain what
31
00:05:39.879 --> 00:05:44.519
I consider to be the best Glenn Miller trombone solo
32
00:05:44.800 --> 00:05:48.480
of his career. Why don't we listen to another Glenn
33
00:05:48.639 --> 00:05:53.279
Miller piece? And while that is playing, Since I mentioned
34
00:05:53.759 --> 00:05:58.040
Jack T. Garden and Tommy Dorsey's prowess on the trombone,
35
00:05:58.040 --> 00:06:00.519
it would only be fitting that I feature a record
36
00:06:00.560 --> 00:06:04.879
by each of them. And while I search for those
37
00:06:05.000 --> 00:06:56.439
two said records, here's Glenn Miller again.
38
00:07:09.000 --> 00:07:10.279
Why hello that Texas?
39
00:07:10.279 --> 00:07:12.319
What you say I'll every little thing.
40
00:07:12.160 --> 00:07:12.959
With you today?
41
00:07:13.199 --> 00:07:15.240
Well, all right, I reckon, I feel pretty bad.
42
00:07:15.480 --> 00:07:17.360
I just got a letter from my gal down there,
43
00:07:17.399 --> 00:07:18.360
down where, down there?
44
00:07:18.399 --> 00:07:18.920
Where's there?
45
00:07:18.959 --> 00:07:19.519
Where's there?
46
00:07:19.639 --> 00:07:22.800
My gal's down home in Texas. Don't give me that stuff,
47
00:07:22.800 --> 00:07:23.079
you do?
48
00:07:23.199 --> 00:07:23.639
All right?
49
00:07:23.800 --> 00:07:25.759
Why I see you with a different chick, every night.
50
00:07:25.879 --> 00:07:26.839
Now, I'm not a bad guy.
51
00:07:26.879 --> 00:07:28.120
I won't mention any names.
52
00:07:28.120 --> 00:07:30.079
But what's the story with you and the dames?
53
00:07:30.160 --> 00:07:32.319
Well, Glenn, I guess I do do pretty well. But
54
00:07:32.360 --> 00:07:34.360
it's really not an awful lot that I could tell.
55
00:07:34.560 --> 00:07:36.639
My father was a pretty sharmcat this day, and says
56
00:07:36.639 --> 00:07:38.560
he used to Gordon mare in the old fashioned way.
57
00:07:38.560 --> 00:07:40.839
Why that old fashioned stuff wouldn't stand a chance in
58
00:07:40.879 --> 00:07:42.720
the hustle, in the bustle of modern romance.
59
00:07:42.720 --> 00:07:43.319
Oh it wouldn't.
60
00:07:43.360 --> 00:07:44.800
Huh, Oh, well you'll find out.
61
00:07:44.879 --> 00:07:46.759
I'll show you just what I'm talking.
62
00:07:46.560 --> 00:07:47.439
About, bug warman.
63
00:07:49.360 --> 00:07:52.519
They didn't have no every planes, they didn't have no
64
00:07:52.560 --> 00:07:55.680
streamline trains, but they had lonely country lanes.
65
00:07:55.720 --> 00:07:56.800
When Paul was Gordon.
66
00:07:57.920 --> 00:07:58.720
They didn't have.
67
00:07:58.800 --> 00:08:02.600
No Redsey bar Betsy drings and Cabby yards, but they
68
00:08:02.720 --> 00:08:04.360
had lots of moon and stars.
69
00:08:04.399 --> 00:08:07.399
When Paul West Gordon mall, they didn't have.
70
00:08:07.480 --> 00:08:12.079
No commentator with the news broadcast. They'd lesson is on
71
00:08:12.160 --> 00:08:15.240
the party line and get their news home most as fast.
72
00:08:15.439 --> 00:08:17.480
They didn't have no electric.
73
00:08:17.160 --> 00:08:18.680
Lanes, just my lamps.
74
00:08:18.720 --> 00:08:21.879
It's mooning night. It's telling all they did all right.
75
00:08:21.920 --> 00:08:23.319
When Paul West Gordon More.
76
00:08:26.240 --> 00:08:28.639
Now all you say is true, I guess, but there
77
00:08:28.720 --> 00:08:30.560
must be more to your success.
78
00:08:31.040 --> 00:08:33.399
Have you told all Texas?
79
00:08:33.840 --> 00:08:35.840
No, they're just one thing.
80
00:08:35.960 --> 00:08:36.840
I got on ball.
81
00:08:37.039 --> 00:08:38.799
He didn't have a saxophone.
82
00:08:38.240 --> 00:08:39.080
When he courted Mall.
83
00:08:39.159 --> 00:08:41.519
It's a funny thing about the goals today. They go
84
00:08:41.639 --> 00:08:44.120
for a guy that can swing and swing out Texas.
85
00:08:44.159 --> 00:08:47.519
I think you got something there, something where, something right there.
86
00:08:47.600 --> 00:08:50.399
So go on side ball, Okay, get going on. I'm
87
00:08:50.559 --> 00:08:51.440
going sardballing.
88
00:09:13.039 --> 00:09:17.639
From a December thirtieth, nineteen thirty eight radio remote from
89
00:09:17.679 --> 00:09:22.759
the Paradise Restaurant in New York City, Glenn Miller, Tech
90
00:09:22.840 --> 00:09:28.000
Spineke and the Orchestra with when Pa was courting Ma.
91
00:09:29.360 --> 00:09:33.159
On the radio, not from the Paramount Restaurant, but from
92
00:09:33.200 --> 00:09:36.360
the Crystal Studio, you're listening to the weekly edition of
93
00:09:36.799 --> 00:09:41.440
The Make Believe Ballroom. And before that remote, I promised
94
00:09:41.440 --> 00:09:45.600
a couple of solos by Miller contemporaries Jack T. Garden
95
00:09:45.679 --> 00:12:42.600
and Tommy Dorsey. Let's start with Jack T. Garden on
96
00:12:42.840 --> 00:12:43.960
Capitol Records.
97
00:12:44.080 --> 00:12:44.480
Jack T.
98
00:12:44.679 --> 00:12:51.799
Guarden wonderful trombone solo with the Dixie Land themed Doctor Jazz.
99
00:12:52.080 --> 00:12:55.559
And in my haste to get that one ready for you,
100
00:12:56.440 --> 00:13:00.200
I did not get the date of recording, but who
101
00:13:00.240 --> 00:13:03.000
needs the exact day. Just the fact that we're listening
102
00:13:03.039 --> 00:13:08.879
to a wonderful recording around eighty years old speaks for itself.
103
00:13:09.440 --> 00:13:14.759
And now let's listen to a true sweet spot song
104
00:13:15.080 --> 00:13:20.039
for Tommy Dorsey's trombone and I promise I will give
105
00:13:20.080 --> 00:13:23.159
you the exact height of recording for this one, since
106
00:13:23.200 --> 00:14:20.440
I have a few more minutes to research that out.
107
00:14:20.799 --> 00:14:56.919
Telling me dad.
108
00:15:02.639 --> 00:16:56.840
Last album the album an album.
109
00:16:24.159 --> 00:16:27.720
Tommy Dorsey and his Orchestra recorded on July the first,
110
00:16:27.840 --> 00:16:32.480
nineteen forty seven and released by RCA Victor. And what
111
00:16:32.720 --> 00:16:38.120
more a fitting name than Trombone Ology. You know, I
112
00:16:39.200 --> 00:16:42.159
always like to pair back to back recordings from Jimmy
113
00:16:42.360 --> 00:16:46.679
and Tommy Dorsey, and I will do that now. I
114
00:16:46.720 --> 00:16:50.000
opened the show with My Blue Heaven by Glenn Miller,
115
00:16:50.519 --> 00:16:54.240
and I mentioned that it was written by Walter Donaldson.
116
00:16:55.799 --> 00:16:59.919
Walter was a prolific songwriter. And here is an early
117
00:17:01.039 --> 00:17:07.279
Donaldson written piece made famous by Al Jolson, reinterpreted here
118
00:17:07.599 --> 00:18:18.640
by Jimmy Dorsey.
119
00:18:00.079 --> 00:19:54.119
Say that they have nothing. Ha.
120
00:20:56.559 --> 00:20:59.839
Jimmy Dorsey and his Orchestra with the big band version
121
00:20:59.880 --> 00:21:04.519
of the standard Carolina in the Morning, composed by Walter
122
00:21:04.720 --> 00:21:09.880
Donaldson with lyrics by the legendary Gus Kahn, first published
123
00:21:09.920 --> 00:21:14.480
in nineteen twenty two and eventually becoming a swing era
124
00:21:14.720 --> 00:21:19.440
staple for Dorsey's ensemble. Was written in twenty two and
125
00:21:19.680 --> 00:21:24.680
recorded by Jimmy Dorsey in that version on August fifteenth,
126
00:21:25.319 --> 00:21:29.440
nineteen hundred and thirty nine. I'm Jeff Bresler, and you're
127
00:21:29.519 --> 00:21:32.680
listening to the one, the only, the original Make Believe
128
00:21:32.759 --> 00:21:38.000
ballroom broadcasting almost continuously since Martin Block took to the
129
00:21:38.119 --> 00:21:42.279
airwaves on w NEW radio in New York City in
130
00:21:42.519 --> 00:21:47.799
February of nineteen thirty five. Let's spin another disc than
131
00:21:48.000 --> 00:21:49.640
a listener's email.
132
00:22:07.359 --> 00:22:09.640
Heading far the station with the pack on my back
133
00:22:10.000 --> 00:22:12.440
and tied the transportation in the back of a hat.
134
00:22:12.880 --> 00:22:15.359
I love to hear the rhythm of the click clack,
135
00:22:15.720 --> 00:22:17.759
and hear the lonesome whistle, see the smoke from the
136
00:22:17.839 --> 00:22:21.680
stack and pale around democratic fellow's name, Mack, So take
137
00:22:21.759 --> 00:22:23.079
me right back to the track.
138
00:22:23.319 --> 00:22:27.640
And Jack choot choo, choot chew your boo, get boo boo,
139
00:22:28.440 --> 00:22:30.720
boo boo boo, get choot chew.
140
00:22:31.240 --> 00:22:32.279
Cheot chew your boo.
141
00:22:32.359 --> 00:22:34.319
Get take me right back to the track.
142
00:22:34.799 --> 00:22:54.359
Jack, you reach your destination but the last and I
143
00:22:54.640 --> 00:22:57.559
like you need some compensation to get back into black.
144
00:22:57.920 --> 00:22:59.720
You take him on the paper from the top of
145
00:22:59.799 --> 00:23:02.599
the time and read the situation from the front to
146
00:23:02.720 --> 00:23:05.079
the back. The on the job that open needs a
147
00:23:05.119 --> 00:23:08.000
man with a knife supported right back in the rack.
148
00:23:08.440 --> 00:23:13.559
Jack, shoot chew choot chew che booget boo boo boo
149
00:23:13.680 --> 00:23:17.400
boo boo get chew chew chew ju chi boo get
150
00:23:17.599 --> 00:23:19.200
take me right back to the track.
151
00:23:19.680 --> 00:23:48.559
Jack, going to.
152
00:23:48.599 --> 00:23:51.720
Settle down by the railroad track. Lived the life of
153
00:23:51.839 --> 00:23:54.359
Riley in the beating down shack some whin or here
154
00:23:54.440 --> 00:23:56.960
a whistle, liking people through the crack and watch the
155
00:23:57.000 --> 00:23:59.920
train of rolling when smalling the jack, I just love
156
00:24:00.079 --> 00:24:01.880
the rhythm of the click clack.
157
00:24:01.839 --> 00:24:03.759
So take me right back to the track.
158
00:24:04.200 --> 00:24:09.319
Chat cheot chuo cheot ju ju booget woo woo woo
159
00:24:09.440 --> 00:24:13.440
woo Ja booget choot chuo chew ju ju booget.
160
00:24:13.400 --> 00:24:25.640
Take me right back to the track, Jack, Take back
161
00:24:25.680 --> 00:24:26.400
to the track.
162
00:24:26.920 --> 00:24:27.119
Jet.
163
00:24:30.480 --> 00:24:35.319
Louis Jordan's spent a remarkable eighteen weeks at number one
164
00:24:35.480 --> 00:24:39.680
in the Rhythm and Blues category with this memorable million
165
00:24:39.839 --> 00:24:42.960
seller we just heard. It also reached top ten on
166
00:24:43.119 --> 00:24:48.440
the pop sales, jukebox and radio airplay charts from Decca Records.
167
00:24:48.960 --> 00:24:53.200
Choot Chew Cheboogie by Louis Jordan and his Timpany five,
168
00:24:53.960 --> 00:25:00.240
recorded back in nineteen forty six. You know what, I'll
169
00:25:00.319 --> 00:25:03.480
get to that listener's email that I promised in just
170
00:25:03.559 --> 00:25:05.920
a moment. But how can I not play after that?
171
00:25:06.599 --> 00:25:09.200
One of my favorite trained songs.
172
00:25:08.880 --> 00:25:09.680
Of all time?
173
00:25:29.000 --> 00:25:32.200
Do you hear that whistled down the line?
174
00:25:32.599 --> 00:25:35.839
I figured that it's as number four, and she's the
175
00:25:36.000 --> 00:25:40.079
only one that'll sound that way on the addresent Peak
176
00:25:40.279 --> 00:25:41.319
and Santa Fe.
177
00:25:44.920 --> 00:25:45.920
See the old.
178
00:25:45.799 --> 00:25:49.599
Smoke rising round the bend. I reckon that you knows
179
00:25:49.640 --> 00:25:52.880
she's going to meet a friend. Folks around these parts
180
00:25:53.000 --> 00:25:55.960
get the time of day from the addressent to Peak
181
00:25:56.079 --> 00:25:57.160
and Santa Fe.
182
00:25:57.599 --> 00:25:58.680
Here's your come.
183
00:26:04.000 --> 00:26:06.240
Ahead, Jim, you better get the rig.
184
00:26:10.680 --> 00:26:13.559
She's got a list of passengers that's pretty big, and
185
00:26:13.720 --> 00:26:17.559
they'll all want lifts to Brown's Hotel, because lots of
186
00:26:17.640 --> 00:26:20.599
them can traveling for quite a spell all the way
187
00:26:20.759 --> 00:26:24.720
from Philipdelphi on the Atchison.
188
00:26:24.240 --> 00:26:26.799
The Big and the Santa Field all.
189
00:26:39.920 --> 00:26:41.400
Chug chug Chugger.
190
00:26:42.640 --> 00:26:46.799
Chubby chug chug, chugger ladder rep ladder Rep.
191
00:26:46.960 --> 00:26:51.480
Mister engineer, Gotta gold, gotta go far away from here,
192
00:26:51.640 --> 00:26:52.000
while the.
193
00:26:52.079 --> 00:26:55.119
Man at the fire shovels on the gold stick. Your
194
00:26:55.200 --> 00:26:58.000
head out the cab, watching the drive and roll, see
195
00:26:58.079 --> 00:26:59.319
the towns and the roads.
196
00:26:59.400 --> 00:26:59.599
Door.
197
00:27:00.039 --> 00:27:05.119
It's badly well laram albuquerkie high yes to read here we.
198
00:27:05.200 --> 00:27:10.200
Are going all away lot sequen Telli in California.
199
00:27:23.000 --> 00:27:36.039
On the accent to beg and Santa Fe on the
200
00:27:36.160 --> 00:27:37.000
accent to be.
201
00:27:37.240 --> 00:27:39.960
Got, and Santa Fe here she comes.
202
00:27:45.119 --> 00:27:47.240
Here, Jimmy, Patty, get to read.
203
00:27:51.279 --> 00:27:52.160
She's got a.
204
00:27:52.200 --> 00:27:55.400
List of passengers that's pretty big, and they'll all on
205
00:27:55.559 --> 00:27:59.519
the lists to Browns, because lots of them and traveling for.
206
00:27:59.599 --> 00:27:59.880
Quite a.
207
00:28:12.920 --> 00:28:17.279
On the Atchinson Topeka and Santa Fe. Written by Johnny
208
00:28:17.359 --> 00:28:21.559
Mercer and Harry Warren, sung by Johnny Mercer and the
209
00:28:21.680 --> 00:28:26.000
Pied Pipers Orchestra conducted by Paul Weston. That was a
210
00:28:26.079 --> 00:28:29.839
song from the movie The Harvey Girls, which starred Judy Garland,
211
00:28:30.480 --> 00:28:35.880
recorded on Mercer's own Capitol Record label back in nineteen
212
00:28:36.119 --> 00:28:40.160
forty five. I'm Jeff Bresler and from the Crystal Studio.
213
00:28:40.319 --> 00:28:43.640
You're listening to the weekly edition of The Make Believe
214
00:28:43.839 --> 00:28:49.160
ball Room before I literally got sidetracked by train songs.
215
00:28:49.240 --> 00:28:53.400
I promised an email from a listener and I'm looking.
216
00:28:53.480 --> 00:28:55.799
I have a second email. Maybe we can do two
217
00:28:55.920 --> 00:29:00.960
emails in a row. The first email, I assume it's
218
00:29:01.079 --> 00:29:03.960
due to the fact that we featured a reunion between
219
00:29:04.079 --> 00:29:08.000
Duke Ellington and Louis Armstrong last week on the show.
220
00:29:09.079 --> 00:29:14.640
The email is from Carol K. A. R. L. And
221
00:29:14.799 --> 00:29:19.240
it reads, good morning, please play something from Louis Armstrong,
222
00:29:19.640 --> 00:29:23.680
thanks much and good work. And I thank you Carol,
223
00:29:23.759 --> 00:29:26.839
And here is a good work from Louis Armstrong, a
224
00:29:27.000 --> 00:29:31.759
work that is one of my all time Armstrong favorites.
225
00:30:08.920 --> 00:30:15.000
All chocolate trump. That's me because my hair is clearly,
226
00:30:17.160 --> 00:30:25.839
just because my teeth are really just because I always
227
00:30:26.000 --> 00:30:32.400
well a smile, like the dress up and the Ladies style,
228
00:30:34.200 --> 00:30:42.440
because I'm glad I'm living. I take troubles all with
229
00:30:42.559 --> 00:30:48.400
a smile. Just because my color shading different.
230
00:30:48.519 --> 00:30:53.640
Maybe that's why they called me don't be bitter but MoMA.
231
00:30:53.720 --> 00:31:01.680
But it then my hairy's good. Oh my dia par
232
00:31:02.720 --> 00:31:14.519
j began old jo it it doesn't want no, no, oh,
233
00:31:16.279 --> 00:31:20.160
I did it that it is oh.
234
00:31:21.680 --> 00:31:24.759
Oh better that by confition.
235
00:32:51.920 --> 00:32:57.000
From Okay Records. Shine by Louis Armstrong and his Sebastian
236
00:32:57.160 --> 00:33:02.000
New Cotton Club Orchestra. Vocal by Louie we Armstrong, recorded
237
00:33:02.119 --> 00:33:06.559
in Los Angeles, California, on March the ninth, nineteen thirty one.
238
00:33:07.480 --> 00:33:10.599
And to Carol, because you were so nice in writing
239
00:33:10.720 --> 00:33:15.319
to us with your request, another of my Armstrong favorites.
240
00:33:28.720 --> 00:33:29.319
Up in the.
241
00:33:29.480 --> 00:33:32.880
Morning, out on the jar.
242
00:33:34.480 --> 00:33:37.000
White like the devil for my.
243
00:33:39.680 --> 00:33:42.079
But that lucky old son.
244
00:33:43.440 --> 00:33:44.960
Has nothing to do.
245
00:33:46.440 --> 00:33:49.960
But roll around heaven all day.
246
00:33:53.799 --> 00:34:00.440
Us with my woman child for my kids, sweat until
247
00:34:00.480 --> 00:34:09.360
I'm wrinkled in bray, while that lucky old sun has
248
00:34:09.519 --> 00:34:15.199
nothing to do but roll around heaven all day.
249
00:34:18.000 --> 00:34:23.960
Good law up above, can't you know I'm finding.
250
00:34:26.719 --> 00:34:28.320
All in my eyes?
251
00:34:31.079 --> 00:34:37.840
Send down that cloud with the silver lining, Give me.
252
00:34:39.320 --> 00:34:48.320
To fable time, Show me that river take me across,
253
00:34:49.519 --> 00:34:53.360
And why all my troubles away.
254
00:34:55.519 --> 00:35:01.760
Lack that lucky old sunn.
255
00:35:00.119 --> 00:35:01.000
I think to do.
256
00:35:02.559 --> 00:35:05.440
But roll around heaven.
257
00:35:05.599 --> 00:35:28.360
All day sing. Let me.
258
00:35:35.199 --> 00:35:42.039
Show me that river, take me across, and watch all
259
00:35:42.199 --> 00:35:44.199
my troubles away.
260
00:35:46.400 --> 00:35:48.480
Like that lock your son.
261
00:35:49.920 --> 00:35:51.480
Give me nothing to do.
262
00:35:52.960 --> 00:35:54.400
But roll around.
263
00:36:00.559 --> 00:36:22.800
Around A vocal by Louis Armstrong, no trumpet, no Louis
264
00:36:22.920 --> 00:36:27.719
orchestra on Deco Records, recorded back in nineteen forty nine.
265
00:36:27.960 --> 00:36:30.960
We just had the pleasure to listen to that lucky
266
00:36:31.079 --> 00:36:36.119
old son Gordon Jenkins and his orchestra and chorus. No
267
00:36:36.280 --> 00:36:39.480
offense to the chorus, but I think that record would
268
00:36:39.480 --> 00:36:42.440
have been much better if it was just a pure
269
00:36:42.639 --> 00:36:47.679
Louis Armstrong solo sands the chorus, very powerful song. I
270
00:36:47.840 --> 00:36:52.800
really didn't think it needed the backup. What you do need, though,
271
00:36:53.199 --> 00:36:56.320
is the email for this program so I can read
272
00:36:56.719 --> 00:37:01.840
and relay your comments and requests to our listeners. I'm
273
00:37:01.960 --> 00:37:06.320
Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at
274
00:37:06.400 --> 00:37:11.599
MakeBelieve Ballroom Radio dot com. I said that I suspect,
275
00:37:12.000 --> 00:37:16.480
and I might be wrong, but suspect that Carol asked
276
00:37:16.519 --> 00:37:22.039
for an Armstrong recording due to the Satchmo Duke performance
277
00:37:22.280 --> 00:37:28.039
from last week via the Ed Sullivan program. And I
278
00:37:28.239 --> 00:37:32.280
suspect that this next request might have to do with
279
00:37:32.440 --> 00:37:36.679
the Dessiarnez recording with the Andrews Sisters I played a
280
00:37:36.760 --> 00:37:40.760
few weeks back. The record's name was Old Don Juan.
281
00:37:41.000 --> 00:37:47.239
If you recall so, let's peruse that email. It reads,
282
00:37:47.400 --> 00:37:51.440
Dear Jeff, longtime listener to the Make Believe Ballroom. I
283
00:37:51.559 --> 00:37:53.960
go all the way back to the William B. Williams
284
00:37:54.119 --> 00:37:58.239
days as the DJ. There is a song that Charlie
285
00:37:58.320 --> 00:38:02.960
Barnett recorded, a Cuban song. I can't remember the vocalist.
286
00:38:03.800 --> 00:38:07.239
I know not many clues, but I also know you
287
00:38:07.280 --> 00:38:09.440
will be able to pull it out of one of
288
00:38:09.519 --> 00:38:15.800
your dusty crates. Thanks. That's signed Arnold Stern, who listens
289
00:38:16.039 --> 00:38:20.119
in New York, and Arnold, I know from what you speak.
290
00:39:06.239 --> 00:39:10.639
Ther comebooks are quite aware of something in the Harlem
291
00:39:10.800 --> 00:39:15.239
Mayor a rhythm with a kind of bed they'd never
292
00:39:15.360 --> 00:39:20.039
heard from Cuban pe There came to Harlem's door one day,
293
00:39:21.000 --> 00:39:24.480
a Cuban then with something new to say. When they
294
00:39:24.679 --> 00:39:27.320
began to play, they played the Cuban burge war games.
295
00:39:30.159 --> 00:39:34.199
Their music held a new daylight because they had the
296
00:39:34.360 --> 00:39:37.199
roombo orrhythm writer, just like Havana.
297
00:39:37.280 --> 00:39:38.000
Still it was a.
298
00:39:38.039 --> 00:39:44.280
Cuban bugey wargame. It began when they heard a band
299
00:39:44.320 --> 00:39:50.800
from Dixie Land me every maid wanted to incorporate the
300
00:39:50.920 --> 00:39:55.280
e be straight ain't be so. Now they have a
301
00:39:55.360 --> 00:39:59.840
figure fine and what they play is really on the line.
302
00:40:00.280 --> 00:40:03.599
It's all combined and it comes out of Cuban Boogey Bogie.
303
00:40:54.000 --> 00:40:57.920
From Bluebird Records with Charlie Barnett and his orchestra. We
304
00:40:58.239 --> 00:41:03.360
just heard Cuban Buggy Judy Ellington vocal recorded back in
305
00:41:03.480 --> 00:41:08.800
nineteen thirty nine, and Judy Judy Ellington had a great voice,
306
00:41:08.960 --> 00:41:14.320
but well, unfortunately had a career that didn't match. She
307
00:41:14.719 --> 00:41:19.119
certainly had her moment of fame back in nineteen thirty nine.
308
00:41:19.719 --> 00:41:22.800
She in my estimation, was in the right place at
309
00:41:22.840 --> 00:41:26.559
the right time, and being in the right place at
310
00:41:26.599 --> 00:41:31.400
the right time found her in the national spotlight when
311
00:41:31.519 --> 00:41:34.719
Charlie Barnett's band broke out as one of the major
312
00:41:34.840 --> 00:41:38.320
swing orchestras in the country and she was hired as
313
00:41:38.480 --> 00:41:43.519
the vocalist. Judy Ellington was unable to follow up on
314
00:41:43.679 --> 00:41:49.079
that popularity, however, that covered nineteen thirty nine and she
315
00:41:49.280 --> 00:41:53.960
started to quickly drift into obscurity after leaving the band
316
00:41:55.360 --> 00:41:59.519
as band dynamics started to change in nineteen thirty nine
317
00:41:59.760 --> 00:42:03.079
four where Charlie, she and a few other band members
318
00:42:03.199 --> 00:42:08.760
moved on, including the great clarinetist Tommy Reynolds. She joined
319
00:42:08.840 --> 00:42:11.599
his band but that lasted for less than a year,
320
00:42:12.360 --> 00:42:16.000
and that was pretty much her career. Let's hear one
321
00:42:16.079 --> 00:42:18.920
more by Judy Ellington and oh yeah, by the way,
322
00:42:19.559 --> 00:42:23.480
Judy was not related to Duke Ellington in any way.
323
00:43:29.440 --> 00:43:32.719
Long ago swung a young gorilla up through the trees
324
00:43:32.880 --> 00:43:36.360
water kilodilla. Ever sends thanks that gorilla.
325
00:43:36.960 --> 00:43:38.280
Some like it hospital.
326
00:43:39.159 --> 00:43:42.360
Later on little mister Nero down in Rome.
327
00:43:42.519 --> 00:43:43.679
He was quite a hero.
328
00:43:44.320 --> 00:43:46.239
Ever send thanks to mister Nero.
329
00:43:46.880 --> 00:43:48.000
Some like it hot.
330
00:43:48.639 --> 00:43:54.440
When a Ruseves went, the community spent using a fted rhythm,
331
00:43:54.719 --> 00:43:55.679
perish with him.
332
00:43:55.920 --> 00:43:58.679
No no, no, no no, I should say nothing.
333
00:43:59.280 --> 00:44:03.800
Everywhere you can find the Bibles nowadays, people falling jiva,
334
00:44:04.199 --> 00:44:04.679
thanks you go.
335
00:44:05.039 --> 00:44:06.320
Senders arrivals.
336
00:44:06.679 --> 00:44:08.079
Some like it Hot.
337
00:44:51.360 --> 00:44:55.119
From Bluebird Records with Charlie Barnett and his orchestra. Judy
338
00:44:55.199 --> 00:44:56.199
Ellington vocals.
339
00:44:56.360 --> 00:44:57.840
Some like It Hot.
340
00:44:58.800 --> 00:45:03.079
Recorded in New York City back in nineteen thirty nine.
341
00:45:03.519 --> 00:45:06.320
I'm Jeff Bresler. This is to make believe Ballroom. I'm
342
00:45:06.360 --> 00:45:09.559
in the Crystal studio regaling you with the collection of
343
00:45:09.679 --> 00:45:13.840
seventy eight RPM records and radio remotes. And I do
344
00:45:14.079 --> 00:45:16.719
that each and every week here on the show.
345
00:46:16.840 --> 00:47:29.199
I may and anything, didn't anything.
346
00:47:37.480 --> 00:48:19.199
They That was Johnny Hodges and his Orchestra with Queen Bess,
347
00:48:19.639 --> 00:48:23.760
recorded for Victor Records on November the second, nineteen forty
348
00:48:23.880 --> 00:48:29.159
in Chicago, Illinois. Johnny, one of the alto sax greats,
349
00:48:29.480 --> 00:48:33.320
is best known for solo work with a gentleman. I
350
00:48:33.599 --> 00:48:37.800
just mentioned Duke Ellington. He played lead alto in the
351
00:48:37.920 --> 00:48:41.119
seventies for the Duke. I think he had his own
352
00:48:41.559 --> 00:48:45.199
orchestra for a few years, if I'm not mistaken, in
353
00:48:45.360 --> 00:48:49.719
the early fifties, but that was a pretty quick stint
354
00:48:49.840 --> 00:48:54.679
and he ultimately went back to Duke. I would say that,
355
00:48:54.880 --> 00:49:00.440
along with Benny Carter in the nineteen thirties especially, Hodges
356
00:49:00.559 --> 00:49:03.280
has to be considered to be one of the definitive
357
00:49:03.559 --> 00:49:09.000
alto saxophone players of the entire big band era. Now,
358
00:49:09.159 --> 00:49:12.960
in the record we just heard, Johnny and his Orchestra
359
00:49:13.280 --> 00:49:17.199
were in actuality the front name for one of the
360
00:49:17.400 --> 00:49:22.079
many Duke Ellington small bands. Small band in that record
361
00:49:22.239 --> 00:49:25.320
we just heard, but certainly big music. So why don't
362
00:49:25.320 --> 00:49:29.320
we play one more from Johnny Hodges.
363
00:50:21.239 --> 00:50:41.800
Play and the Son of the Said and I Love.
364
00:50:53.000 --> 00:51:24.719
The Day the Bat.
365
00:51:28.719 --> 00:52:27.920
Nice Buttering, recorded in New York City, on March the
366
00:52:28.000 --> 00:52:34.320
twenty eighth, nineteen thirty eight Rendezvous with Rhythm via Vocalian Records,
367
00:52:34.400 --> 00:52:39.039
Johnny Hodges and his orchestra under the umbrella of Duke Ellington,
368
00:52:39.360 --> 00:52:43.000
and I gotta look this up. Maybe I'll look it
369
00:52:43.079 --> 00:52:47.159
up during the next record we play. I'm almost sure
370
00:52:47.320 --> 00:52:51.199
he was one of the prominent Ellington band members. I'm
371
00:52:51.239 --> 00:52:55.360
talking about Johnny Hodges, who was featured in Benny Goodman's
372
00:52:55.679 --> 00:53:02.280
classic nineteen thirty eight Carnegie Hall Consert. I think we
373
00:53:02.440 --> 00:53:06.639
have time to play one more record, at least before
374
00:53:06.760 --> 00:53:11.079
we close up the Crystal studio, and let's see what
375
00:53:11.280 --> 00:53:12.039
I can spend.
376
00:54:06.840 --> 00:54:10.079
Bring it high and bring it mold, bring it everywhere
377
00:54:10.320 --> 00:54:10.559
you go.
378
00:54:11.360 --> 00:54:16.079
Oh sing it, yeah, man, swing it now, bringet left, night,
379
00:54:16.159 --> 00:54:17.639
swing it right, bring.
380
00:54:17.639 --> 00:54:19.920
It morning noon, and oh.
381
00:54:21.559 --> 00:54:23.199
Yes, sing it now.
382
00:54:23.480 --> 00:54:27.920
Harmony is a melody. It's let him wing. Don't you
383
00:54:28.079 --> 00:54:30.800
know that if you don't bring it it don't mean nothing.
384
00:54:31.360 --> 00:54:32.840
Bring it up, mad, swing it.
385
00:54:33.599 --> 00:54:34.800
Bring it all around.
386
00:54:35.960 --> 00:54:39.039
Oh sing it, yeah it.
387
00:55:13.360 --> 00:55:13.559
Just this.
388
00:56:22.880 --> 00:56:27.760
I mentioned the equally great alto saxophonist Benny Carter a
389
00:56:27.840 --> 00:56:31.800
few moments ago, a contemporary of Johnny Hodges. So for you,
390
00:56:32.159 --> 00:56:36.920
I just played from Columbia Records. Swing It by Benny
391
00:56:37.000 --> 00:56:40.880
Carter and his Orchestra Vocal by Benny Carter, recorded in
392
00:56:40.960 --> 00:56:45.519
New York City, March the fourteenth, nineteen thirty three. In folks,
393
00:56:45.639 --> 00:56:48.679
we are totally out of time. Thanks so much for
394
00:56:48.840 --> 00:56:52.559
joining me today to reach me. I'm Jeff at Make
395
00:56:52.639 --> 00:56:58.079
Believe Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroomradio
396
00:56:58.320 --> 00:57:00.840
dot com. I want to take a moment to thank
397
00:57:01.000 --> 00:57:05.119
our syndicators and distributors for offering the Make Believe Ballroom
398
00:57:05.320 --> 00:57:10.119
cost free to commercial, free, public, community, and university radio
399
00:57:10.280 --> 00:57:14.360
stations across the US, as well as in the United Kingdom.
400
00:57:14.519 --> 00:57:19.840
They are the Public Radio Exchange PRX, the PACIFICA Network,
401
00:57:20.360 --> 00:57:25.519
and Global Community Radio. The program's flagship affiliate is Jazz
402
00:57:25.719 --> 00:57:31.079
ninety point one WGMC in Rochester, New York. The Ballroom
403
00:57:31.239 --> 00:57:35.599
is also heard on your favorite podcast provider or Going
404
00:57:35.719 --> 00:57:40.320
to Make Believe Ballroom dot com. So friends, until next week,
405
00:57:40.679 --> 00:57:42.760
this has been Jeff Bresler
1
00:00:12.160 --> 00:00:14.720
It's make Believe Ballroom time.
2
00:00:15.480 --> 00:00:17.800
Put all your cares away.
3
00:00:19.719 --> 00:00:23.640
All the bands are here to bring good cheer your way.
4
00:00:25.519 --> 00:00:33.320
It's make Believe ball time and free to everyone. It's
5
00:00:33.399 --> 00:00:40.200
no time to friend your Dalis said Bobs.
6
00:00:40.320 --> 00:00:42.000
Close your eyes.
7
00:00:41.600 --> 00:00:44.119
And as you lie in.
8
00:00:44.000 --> 00:00:47.280
Your solitude, your.
9
00:00:46.880 --> 00:00:50.960
Favorite bands are on the stands and mister Miller, but
10
00:00:51.159 --> 00:00:54.759
you're in the wood. Its Make Believe ballom time.
11
00:00:56.039 --> 00:01:02.719
Are a sweet romance is to make Come on jo
12
00:01:02.880 --> 00:01:04.359
the last dass last.
13
00:01:06.239 --> 00:01:10.519
Hello world, I'm Jeff Bresler, turning on the lights of
14
00:01:10.599 --> 00:01:14.760
the Make Believe Ballroom and welcoming you into my Crystal
15
00:01:14.879 --> 00:01:19.480
studio for another program of classic big band music from
16
00:01:19.480 --> 00:01:23.519
the nineteen thirties and forties. Please get ready as I
17
00:01:23.599 --> 00:01:27.519
play for you some amazing jazz, swing, blues, and boogie
18
00:01:27.560 --> 00:01:33.000
woogie favorites. Folks, you're listening to the Make Believe Ballroom,
19
00:01:33.200 --> 00:01:39.680
broadcasting almost continuously since nineteen thirty five. And welcome, Welcome, Welcome,
20
00:01:39.719 --> 00:01:43.159
one and all into the Crystal Studio, and thanks so
21
00:01:43.319 --> 00:01:46.959
much for joining me today. Let's start off with a
22
00:01:47.120 --> 00:01:51.400
Glenn Miller tune Glenn Millerton that I think has well
23
00:01:51.519 --> 00:04:35.839
had some personal distinction for mister Miller.
24
00:02:53.120 --> 00:06:51.120
Laying Anything Yeah.
25
00:05:08.759 --> 00:05:13.279
Recorded on April twenty eighth, nineteen forty on Bluebird Records,
26
00:05:13.399 --> 00:05:19.120
the Walter Donaldson standard My Blue Heaven Glenn Miller and
27
00:05:19.240 --> 00:05:25.759
his Orchestra, And you know, I think, well Glenn Miller
28
00:05:25.800 --> 00:05:29.959
on the trombone, going head to head, say with Jack T.
29
00:05:30.160 --> 00:05:35.199
Garden and Tommy Dorsey would finish third. But on this
30
00:05:35.360 --> 00:05:39.600
rendition of My Blue Heaven, the record does contain what
31
00:05:39.879 --> 00:05:44.519
I consider to be the best Glenn Miller trombone solo
32
00:05:44.800 --> 00:05:48.480
of his career. Why don't we listen to another Glenn
33
00:05:48.639 --> 00:05:53.279
Miller piece? And while that is playing, Since I mentioned
34
00:05:53.759 --> 00:05:58.040
Jack T. Garden and Tommy Dorsey's prowess on the trombone,
35
00:05:58.040 --> 00:06:00.519
it would only be fitting that I feature a record
36
00:06:00.560 --> 00:06:04.879
by each of them. And while I search for those
37
00:06:05.000 --> 00:06:56.439
two said records, here's Glenn Miller again.
38
00:07:09.000 --> 00:07:10.279
Why hello that Texas?
39
00:07:10.279 --> 00:07:12.319
What you say I'll every little thing.
40
00:07:12.160 --> 00:07:12.959
With you today?
41
00:07:13.199 --> 00:07:15.240
Well, all right, I reckon, I feel pretty bad.
42
00:07:15.480 --> 00:07:17.360
I just got a letter from my gal down there,
43
00:07:17.399 --> 00:07:18.360
down where, down there?
44
00:07:18.399 --> 00:07:18.920
Where's there?
45
00:07:18.959 --> 00:07:19.519
Where's there?
46
00:07:19.639 --> 00:07:22.800
My gal's down home in Texas. Don't give me that stuff,
47
00:07:22.800 --> 00:07:23.079
you do?
48
00:07:23.199 --> 00:07:23.639
All right?
49
00:07:23.800 --> 00:07:25.759
Why I see you with a different chick, every night.
50
00:07:25.879 --> 00:07:26.839
Now, I'm not a bad guy.
51
00:07:26.879 --> 00:07:28.120
I won't mention any names.
52
00:07:28.120 --> 00:07:30.079
But what's the story with you and the dames?
53
00:07:30.160 --> 00:07:32.319
Well, Glenn, I guess I do do pretty well. But
54
00:07:32.360 --> 00:07:34.360
it's really not an awful lot that I could tell.
55
00:07:34.560 --> 00:07:36.639
My father was a pretty sharmcat this day, and says
56
00:07:36.639 --> 00:07:38.560
he used to Gordon mare in the old fashioned way.
57
00:07:38.560 --> 00:07:40.839
Why that old fashioned stuff wouldn't stand a chance in
58
00:07:40.879 --> 00:07:42.720
the hustle, in the bustle of modern romance.
59
00:07:42.720 --> 00:07:43.319
Oh it wouldn't.
60
00:07:43.360 --> 00:07:44.800
Huh, Oh, well you'll find out.
61
00:07:44.879 --> 00:07:46.759
I'll show you just what I'm talking.
62
00:07:46.560 --> 00:07:47.439
About, bug warman.
63
00:07:49.360 --> 00:07:52.519
They didn't have no every planes, they didn't have no
64
00:07:52.560 --> 00:07:55.680
streamline trains, but they had lonely country lanes.
65
00:07:55.720 --> 00:07:56.800
When Paul was Gordon.
66
00:07:57.920 --> 00:07:58.720
They didn't have.
67
00:07:58.800 --> 00:08:02.600
No Redsey bar Betsy drings and Cabby yards, but they
68
00:08:02.720 --> 00:08:04.360
had lots of moon and stars.
69
00:08:04.399 --> 00:08:07.399
When Paul West Gordon mall, they didn't have.
70
00:08:07.480 --> 00:08:12.079
No commentator with the news broadcast. They'd lesson is on
71
00:08:12.160 --> 00:08:15.240
the party line and get their news home most as fast.
72
00:08:15.439 --> 00:08:17.480
They didn't have no electric.
73
00:08:17.160 --> 00:08:18.680
Lanes, just my lamps.
74
00:08:18.720 --> 00:08:21.879
It's mooning night. It's telling all they did all right.
75
00:08:21.920 --> 00:08:23.319
When Paul West Gordon More.
76
00:08:26.240 --> 00:08:28.639
Now all you say is true, I guess, but there
77
00:08:28.720 --> 00:08:30.560
must be more to your success.
78
00:08:31.040 --> 00:08:33.399
Have you told all Texas?
79
00:08:33.840 --> 00:08:35.840
No, they're just one thing.
80
00:08:35.960 --> 00:08:36.840
I got on ball.
81
00:08:37.039 --> 00:08:38.799
He didn't have a saxophone.
82
00:08:38.240 --> 00:08:39.080
When he courted Mall.
83
00:08:39.159 --> 00:08:41.519
It's a funny thing about the goals today. They go
84
00:08:41.639 --> 00:08:44.120
for a guy that can swing and swing out Texas.
85
00:08:44.159 --> 00:08:47.519
I think you got something there, something where, something right there.
86
00:08:47.600 --> 00:08:50.399
So go on side ball, Okay, get going on. I'm
87
00:08:50.559 --> 00:08:51.440
going sardballing.
88
00:09:13.039 --> 00:09:17.639
From a December thirtieth, nineteen thirty eight radio remote from
89
00:09:17.679 --> 00:09:22.759
the Paradise Restaurant in New York City, Glenn Miller, Tech
90
00:09:22.840 --> 00:09:28.000
Spineke and the Orchestra with when Pa was courting Ma.
91
00:09:29.360 --> 00:09:33.159
On the radio, not from the Paramount Restaurant, but from
92
00:09:33.200 --> 00:09:36.360
the Crystal Studio, you're listening to the weekly edition of
93
00:09:36.799 --> 00:09:41.440
The Make Believe Ballroom. And before that remote, I promised
94
00:09:41.440 --> 00:09:45.600
a couple of solos by Miller contemporaries Jack T. Garden
95
00:09:45.679 --> 00:12:42.600
and Tommy Dorsey. Let's start with Jack T. Garden on
96
00:12:42.840 --> 00:12:43.960
Capitol Records.
97
00:12:44.080 --> 00:12:44.480
Jack T.
98
00:12:44.679 --> 00:12:51.799
Guarden wonderful trombone solo with the Dixie Land themed Doctor Jazz.
99
00:12:52.080 --> 00:12:55.559
And in my haste to get that one ready for you,
100
00:12:56.440 --> 00:13:00.200
I did not get the date of recording, but who
101
00:13:00.240 --> 00:13:03.000
needs the exact day. Just the fact that we're listening
102
00:13:03.039 --> 00:13:08.879
to a wonderful recording around eighty years old speaks for itself.
103
00:13:09.440 --> 00:13:14.759
And now let's listen to a true sweet spot song
104
00:13:15.080 --> 00:13:20.039
for Tommy Dorsey's trombone and I promise I will give
105
00:13:20.080 --> 00:13:23.159
you the exact height of recording for this one, since
106
00:13:23.200 --> 00:14:20.440
I have a few more minutes to research that out.
107
00:14:20.799 --> 00:14:56.919
Telling me dad.
108
00:15:02.639 --> 00:16:56.840
Last album the album an album.
109
00:16:24.159 --> 00:16:27.720
Tommy Dorsey and his Orchestra recorded on July the first,
110
00:16:27.840 --> 00:16:32.480
nineteen forty seven and released by RCA Victor. And what
111
00:16:32.720 --> 00:16:38.120
more a fitting name than Trombone Ology. You know, I
112
00:16:39.200 --> 00:16:42.159
always like to pair back to back recordings from Jimmy
113
00:16:42.360 --> 00:16:46.679
and Tommy Dorsey, and I will do that now. I
114
00:16:46.720 --> 00:16:50.000
opened the show with My Blue Heaven by Glenn Miller,
115
00:16:50.519 --> 00:16:54.240
and I mentioned that it was written by Walter Donaldson.
116
00:16:55.799 --> 00:16:59.919
Walter was a prolific songwriter. And here is an early
117
00:17:01.039 --> 00:17:07.279
Donaldson written piece made famous by Al Jolson, reinterpreted here
118
00:17:07.599 --> 00:18:18.640
by Jimmy Dorsey.
119
00:18:00.079 --> 00:19:54.119
Say that they have nothing. Ha.
120
00:20:56.559 --> 00:20:59.839
Jimmy Dorsey and his Orchestra with the big band version
121
00:20:59.880 --> 00:21:04.519
of the standard Carolina in the Morning, composed by Walter
122
00:21:04.720 --> 00:21:09.880
Donaldson with lyrics by the legendary Gus Kahn, first published
123
00:21:09.920 --> 00:21:14.480
in nineteen twenty two and eventually becoming a swing era
124
00:21:14.720 --> 00:21:19.440
staple for Dorsey's ensemble. Was written in twenty two and
125
00:21:19.680 --> 00:21:24.680
recorded by Jimmy Dorsey in that version on August fifteenth,
126
00:21:25.319 --> 00:21:29.440
nineteen hundred and thirty nine. I'm Jeff Bresler, and you're
127
00:21:29.519 --> 00:21:32.680
listening to the one, the only, the original Make Believe
128
00:21:32.759 --> 00:21:38.000
ballroom broadcasting almost continuously since Martin Block took to the
129
00:21:38.119 --> 00:21:42.279
airwaves on w NEW radio in New York City in
130
00:21:42.519 --> 00:21:47.799
February of nineteen thirty five. Let's spin another disc than
131
00:21:48.000 --> 00:21:49.640
a listener's email.
132
00:22:07.359 --> 00:22:09.640
Heading far the station with the pack on my back
133
00:22:10.000 --> 00:22:12.440
and tied the transportation in the back of a hat.
134
00:22:12.880 --> 00:22:15.359
I love to hear the rhythm of the click clack,
135
00:22:15.720 --> 00:22:17.759
and hear the lonesome whistle, see the smoke from the
136
00:22:17.839 --> 00:22:21.680
stack and pale around democratic fellow's name, Mack, So take
137
00:22:21.759 --> 00:22:23.079
me right back to the track.
138
00:22:23.319 --> 00:22:27.640
And Jack choot choo, choot chew your boo, get boo boo,
139
00:22:28.440 --> 00:22:30.720
boo boo boo, get choot chew.
140
00:22:31.240 --> 00:22:32.279
Cheot chew your boo.
141
00:22:32.359 --> 00:22:34.319
Get take me right back to the track.
142
00:22:34.799 --> 00:22:54.359
Jack, you reach your destination but the last and I
143
00:22:54.640 --> 00:22:57.559
like you need some compensation to get back into black.
144
00:22:57.920 --> 00:22:59.720
You take him on the paper from the top of
145
00:22:59.799 --> 00:23:02.599
the time and read the situation from the front to
146
00:23:02.720 --> 00:23:05.079
the back. The on the job that open needs a
147
00:23:05.119 --> 00:23:08.000
man with a knife supported right back in the rack.
148
00:23:08.440 --> 00:23:13.559
Jack, shoot chew choot chew che booget boo boo boo
149
00:23:13.680 --> 00:23:17.400
boo boo get chew chew chew ju chi boo get
150
00:23:17.599 --> 00:23:19.200
take me right back to the track.
151
00:23:19.680 --> 00:23:48.559
Jack, going to.
152
00:23:48.599 --> 00:23:51.720
Settle down by the railroad track. Lived the life of
153
00:23:51.839 --> 00:23:54.359
Riley in the beating down shack some whin or here
154
00:23:54.440 --> 00:23:56.960
a whistle, liking people through the crack and watch the
155
00:23:57.000 --> 00:23:59.920
train of rolling when smalling the jack, I just love
156
00:24:00.079 --> 00:24:01.880
the rhythm of the click clack.
157
00:24:01.839 --> 00:24:03.759
So take me right back to the track.
158
00:24:04.200 --> 00:24:09.319
Chat cheot chuo cheot ju ju booget woo woo woo
159
00:24:09.440 --> 00:24:13.440
woo Ja booget choot chuo chew ju ju booget.
160
00:24:13.400 --> 00:24:25.640
Take me right back to the track, Jack, Take back
161
00:24:25.680 --> 00:24:26.400
to the track.
162
00:24:26.920 --> 00:24:27.119
Jet.
163
00:24:30.480 --> 00:24:35.319
Louis Jordan's spent a remarkable eighteen weeks at number one
164
00:24:35.480 --> 00:24:39.680
in the Rhythm and Blues category with this memorable million
165
00:24:39.839 --> 00:24:42.960
seller we just heard. It also reached top ten on
166
00:24:43.119 --> 00:24:48.440
the pop sales, jukebox and radio airplay charts from Decca Records.
167
00:24:48.960 --> 00:24:53.200
Choot Chew Cheboogie by Louis Jordan and his Timpany five,
168
00:24:53.960 --> 00:25:00.240
recorded back in nineteen forty six. You know what, I'll
169
00:25:00.319 --> 00:25:03.480
get to that listener's email that I promised in just
170
00:25:03.559 --> 00:25:05.920
a moment. But how can I not play after that?
171
00:25:06.599 --> 00:25:09.200
One of my favorite trained songs.
172
00:25:08.880 --> 00:25:09.680
Of all time?
173
00:25:29.000 --> 00:25:32.200
Do you hear that whistled down the line?
174
00:25:32.599 --> 00:25:35.839
I figured that it's as number four, and she's the
175
00:25:36.000 --> 00:25:40.079
only one that'll sound that way on the addresent Peak
176
00:25:40.279 --> 00:25:41.319
and Santa Fe.
177
00:25:44.920 --> 00:25:45.920
See the old.
178
00:25:45.799 --> 00:25:49.599
Smoke rising round the bend. I reckon that you knows
179
00:25:49.640 --> 00:25:52.880
she's going to meet a friend. Folks around these parts
180
00:25:53.000 --> 00:25:55.960
get the time of day from the addressent to Peak
181
00:25:56.079 --> 00:25:57.160
and Santa Fe.
182
00:25:57.599 --> 00:25:58.680
Here's your come.
183
00:26:04.000 --> 00:26:06.240
Ahead, Jim, you better get the rig.
184
00:26:10.680 --> 00:26:13.559
She's got a list of passengers that's pretty big, and
185
00:26:13.720 --> 00:26:17.559
they'll all want lifts to Brown's Hotel, because lots of
186
00:26:17.640 --> 00:26:20.599
them can traveling for quite a spell all the way
187
00:26:20.759 --> 00:26:24.720
from Philipdelphi on the Atchison.
188
00:26:24.240 --> 00:26:26.799
The Big and the Santa Field all.
189
00:26:39.920 --> 00:26:41.400
Chug chug Chugger.
190
00:26:42.640 --> 00:26:46.799
Chubby chug chug, chugger ladder rep ladder Rep.
191
00:26:46.960 --> 00:26:51.480
Mister engineer, Gotta gold, gotta go far away from here,
192
00:26:51.640 --> 00:26:52.000
while the.
193
00:26:52.079 --> 00:26:55.119
Man at the fire shovels on the gold stick. Your
194
00:26:55.200 --> 00:26:58.000
head out the cab, watching the drive and roll, see
195
00:26:58.079 --> 00:26:59.319
the towns and the roads.
196
00:26:59.400 --> 00:26:59.599
Door.
197
00:27:00.039 --> 00:27:05.119
It's badly well laram albuquerkie high yes to read here we.
198
00:27:05.200 --> 00:27:10.200
Are going all away lot sequen Telli in California.
199
00:27:23.000 --> 00:27:36.039
On the accent to beg and Santa Fe on the
200
00:27:36.160 --> 00:27:37.000
accent to be.
201
00:27:37.240 --> 00:27:39.960
Got, and Santa Fe here she comes.
202
00:27:45.119 --> 00:27:47.240
Here, Jimmy, Patty, get to read.
203
00:27:51.279 --> 00:27:52.160
She's got a.
204
00:27:52.200 --> 00:27:55.400
List of passengers that's pretty big, and they'll all on
205
00:27:55.559 --> 00:27:59.519
the lists to Browns, because lots of them and traveling for.
206
00:27:59.599 --> 00:27:59.880
Quite a.
207
00:28:12.920 --> 00:28:17.279
On the Atchinson Topeka and Santa Fe. Written by Johnny
208
00:28:17.359 --> 00:28:21.559
Mercer and Harry Warren, sung by Johnny Mercer and the
209
00:28:21.680 --> 00:28:26.000
Pied Pipers Orchestra conducted by Paul Weston. That was a
210
00:28:26.079 --> 00:28:29.839
song from the movie The Harvey Girls, which starred Judy Garland,
211
00:28:30.480 --> 00:28:35.880
recorded on Mercer's own Capitol Record label back in nineteen
212
00:28:36.119 --> 00:28:40.160
forty five. I'm Jeff Bresler and from the Crystal Studio.
213
00:28:40.319 --> 00:28:43.640
You're listening to the weekly edition of The Make Believe
214
00:28:43.839 --> 00:28:49.160
ball Room before I literally got sidetracked by train songs.
215
00:28:49.240 --> 00:28:53.400
I promised an email from a listener and I'm looking.
216
00:28:53.480 --> 00:28:55.799
I have a second email. Maybe we can do two
217
00:28:55.920 --> 00:29:00.960
emails in a row. The first email, I assume it's
218
00:29:01.079 --> 00:29:03.960
due to the fact that we featured a reunion between
219
00:29:04.079 --> 00:29:08.000
Duke Ellington and Louis Armstrong last week on the show.
220
00:29:09.079 --> 00:29:14.640
The email is from Carol K. A. R. L. And
221
00:29:14.799 --> 00:29:19.240
it reads, good morning, please play something from Louis Armstrong,
222
00:29:19.640 --> 00:29:23.680
thanks much and good work. And I thank you Carol,
223
00:29:23.759 --> 00:29:26.839
And here is a good work from Louis Armstrong, a
224
00:29:27.000 --> 00:29:31.759
work that is one of my all time Armstrong favorites.
225
00:30:08.920 --> 00:30:15.000
All chocolate trump. That's me because my hair is clearly,
226
00:30:17.160 --> 00:30:25.839
just because my teeth are really just because I always
227
00:30:26.000 --> 00:30:32.400
well a smile, like the dress up and the Ladies style,
228
00:30:34.200 --> 00:30:42.440
because I'm glad I'm living. I take troubles all with
229
00:30:42.559 --> 00:30:48.400
a smile. Just because my color shading different.
230
00:30:48.519 --> 00:30:53.640
Maybe that's why they called me don't be bitter but MoMA.
231
00:30:53.720 --> 00:31:01.680
But it then my hairy's good. Oh my dia par
232
00:31:02.720 --> 00:31:14.519
j began old jo it it doesn't want no, no, oh,
233
00:31:16.279 --> 00:31:20.160
I did it that it is oh.
234
00:31:21.680 --> 00:31:24.759
Oh better that by confition.
235
00:32:51.920 --> 00:32:57.000
From Okay Records. Shine by Louis Armstrong and his Sebastian
236
00:32:57.160 --> 00:33:02.000
New Cotton Club Orchestra. Vocal by Louie we Armstrong, recorded
237
00:33:02.119 --> 00:33:06.559
in Los Angeles, California, on March the ninth, nineteen thirty one.
238
00:33:07.480 --> 00:33:10.599
And to Carol, because you were so nice in writing
239
00:33:10.720 --> 00:33:15.319
to us with your request, another of my Armstrong favorites.
240
00:33:28.720 --> 00:33:29.319
Up in the.
241
00:33:29.480 --> 00:33:32.880
Morning, out on the jar.
242
00:33:34.480 --> 00:33:37.000
White like the devil for my.
243
00:33:39.680 --> 00:33:42.079
But that lucky old son.
244
00:33:43.440 --> 00:33:44.960
Has nothing to do.
245
00:33:46.440 --> 00:33:49.960
But roll around heaven all day.
246
00:33:53.799 --> 00:34:00.440
Us with my woman child for my kids, sweat until
247
00:34:00.480 --> 00:34:09.360
I'm wrinkled in bray, while that lucky old sun has
248
00:34:09.519 --> 00:34:15.199
nothing to do but roll around heaven all day.
249
00:34:18.000 --> 00:34:23.960
Good law up above, can't you know I'm finding.
250
00:34:26.719 --> 00:34:28.320
All in my eyes?
251
00:34:31.079 --> 00:34:37.840
Send down that cloud with the silver lining, Give me.
252
00:34:39.320 --> 00:34:48.320
To fable time, Show me that river take me across,
253
00:34:49.519 --> 00:34:53.360
And why all my troubles away.
254
00:34:55.519 --> 00:35:01.760
Lack that lucky old sunn.
255
00:35:00.119 --> 00:35:01.000
I think to do.
256
00:35:02.559 --> 00:35:05.440
But roll around heaven.
257
00:35:05.599 --> 00:35:28.360
All day sing. Let me.
258
00:35:35.199 --> 00:35:42.039
Show me that river, take me across, and watch all
259
00:35:42.199 --> 00:35:44.199
my troubles away.
260
00:35:46.400 --> 00:35:48.480
Like that lock your son.
261
00:35:49.920 --> 00:35:51.480
Give me nothing to do.
262
00:35:52.960 --> 00:35:54.400
But roll around.
263
00:36:00.559 --> 00:36:22.800
Around A vocal by Louis Armstrong, no trumpet, no Louis
264
00:36:22.920 --> 00:36:27.719
orchestra on Deco Records, recorded back in nineteen forty nine.
265
00:36:27.960 --> 00:36:30.960
We just had the pleasure to listen to that lucky
266
00:36:31.079 --> 00:36:36.119
old son Gordon Jenkins and his orchestra and chorus. No
267
00:36:36.280 --> 00:36:39.480
offense to the chorus, but I think that record would
268
00:36:39.480 --> 00:36:42.440
have been much better if it was just a pure
269
00:36:42.639 --> 00:36:47.679
Louis Armstrong solo sands the chorus, very powerful song. I
270
00:36:47.840 --> 00:36:52.800
really didn't think it needed the backup. What you do need, though,
271
00:36:53.199 --> 00:36:56.320
is the email for this program so I can read
272
00:36:56.719 --> 00:37:01.840
and relay your comments and requests to our listeners. I'm
273
00:37:01.960 --> 00:37:06.320
Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at
274
00:37:06.400 --> 00:37:11.599
MakeBelieve Ballroom Radio dot com. I said that I suspect,
275
00:37:12.000 --> 00:37:16.480
and I might be wrong, but suspect that Carol asked
276
00:37:16.519 --> 00:37:22.039
for an Armstrong recording due to the Satchmo Duke performance
277
00:37:22.280 --> 00:37:28.039
from last week via the Ed Sullivan program. And I
278
00:37:28.239 --> 00:37:32.280
suspect that this next request might have to do with
279
00:37:32.440 --> 00:37:36.679
the Dessiarnez recording with the Andrews Sisters I played a
280
00:37:36.760 --> 00:37:40.760
few weeks back. The record's name was Old Don Juan.
281
00:37:41.000 --> 00:37:47.239
If you recall so, let's peruse that email. It reads,
282
00:37:47.400 --> 00:37:51.440
Dear Jeff, longtime listener to the Make Believe Ballroom. I
283
00:37:51.559 --> 00:37:53.960
go all the way back to the William B. Williams
284
00:37:54.119 --> 00:37:58.239
days as the DJ. There is a song that Charlie
285
00:37:58.320 --> 00:38:02.960
Barnett recorded, a Cuban song. I can't remember the vocalist.
286
00:38:03.800 --> 00:38:07.239
I know not many clues, but I also know you
287
00:38:07.280 --> 00:38:09.440
will be able to pull it out of one of
288
00:38:09.519 --> 00:38:15.800
your dusty crates. Thanks. That's signed Arnold Stern, who listens
289
00:38:16.039 --> 00:38:20.119
in New York, and Arnold, I know from what you speak.
290
00:39:06.239 --> 00:39:10.639
Ther comebooks are quite aware of something in the Harlem
291
00:39:10.800 --> 00:39:15.239
Mayor a rhythm with a kind of bed they'd never
292
00:39:15.360 --> 00:39:20.039
heard from Cuban pe There came to Harlem's door one day,
293
00:39:21.000 --> 00:39:24.480
a Cuban then with something new to say. When they
294
00:39:24.679 --> 00:39:27.320
began to play, they played the Cuban burge war games.
295
00:39:30.159 --> 00:39:34.199
Their music held a new daylight because they had the
296
00:39:34.360 --> 00:39:37.199
roombo orrhythm writer, just like Havana.
297
00:39:37.280 --> 00:39:38.000
Still it was a.
298
00:39:38.039 --> 00:39:44.280
Cuban bugey wargame. It began when they heard a band
299
00:39:44.320 --> 00:39:50.800
from Dixie Land me every maid wanted to incorporate the
300
00:39:50.920 --> 00:39:55.280
e be straight ain't be so. Now they have a
301
00:39:55.360 --> 00:39:59.840
figure fine and what they play is really on the line.
302
00:40:00.280 --> 00:40:03.599
It's all combined and it comes out of Cuban Boogey Bogie.
303
00:40:54.000 --> 00:40:57.920
From Bluebird Records with Charlie Barnett and his orchestra. We
304
00:40:58.239 --> 00:41:03.360
just heard Cuban Buggy Judy Ellington vocal recorded back in
305
00:41:03.480 --> 00:41:08.800
nineteen thirty nine, and Judy Judy Ellington had a great voice,
306
00:41:08.960 --> 00:41:14.320
but well, unfortunately had a career that didn't match. She
307
00:41:14.719 --> 00:41:19.119
certainly had her moment of fame back in nineteen thirty nine.
308
00:41:19.719 --> 00:41:22.800
She in my estimation, was in the right place at
309
00:41:22.840 --> 00:41:26.559
the right time, and being in the right place at
310
00:41:26.599 --> 00:41:31.400
the right time found her in the national spotlight when
311
00:41:31.519 --> 00:41:34.719
Charlie Barnett's band broke out as one of the major
312
00:41:34.840 --> 00:41:38.320
swing orchestras in the country and she was hired as
313
00:41:38.480 --> 00:41:43.519
the vocalist. Judy Ellington was unable to follow up on
314
00:41:43.679 --> 00:41:49.079
that popularity, however, that covered nineteen thirty nine and she
315
00:41:49.280 --> 00:41:53.960
started to quickly drift into obscurity after leaving the band
316
00:41:55.360 --> 00:41:59.519
as band dynamics started to change in nineteen thirty nine
317
00:41:59.760 --> 00:42:03.079
four where Charlie, she and a few other band members
318
00:42:03.199 --> 00:42:08.760
moved on, including the great clarinetist Tommy Reynolds. She joined
319
00:42:08.840 --> 00:42:11.599
his band but that lasted for less than a year,
320
00:42:12.360 --> 00:42:16.000
and that was pretty much her career. Let's hear one
321
00:42:16.079 --> 00:42:18.920
more by Judy Ellington and oh yeah, by the way,
322
00:42:19.559 --> 00:42:23.480
Judy was not related to Duke Ellington in any way.
323
00:43:29.440 --> 00:43:32.719
Long ago swung a young gorilla up through the trees
324
00:43:32.880 --> 00:43:36.360
water kilodilla. Ever sends thanks that gorilla.
325
00:43:36.960 --> 00:43:38.280
Some like it hospital.
326
00:43:39.159 --> 00:43:42.360
Later on little mister Nero down in Rome.
327
00:43:42.519 --> 00:43:43.679
He was quite a hero.
328
00:43:44.320 --> 00:43:46.239
Ever send thanks to mister Nero.
329
00:43:46.880 --> 00:43:48.000
Some like it hot.
330
00:43:48.639 --> 00:43:54.440
When a Ruseves went, the community spent using a fted rhythm,
331
00:43:54.719 --> 00:43:55.679
perish with him.
332
00:43:55.920 --> 00:43:58.679
No no, no, no no, I should say nothing.
333
00:43:59.280 --> 00:44:03.800
Everywhere you can find the Bibles nowadays, people falling jiva,
334
00:44:04.199 --> 00:44:04.679
thanks you go.
335
00:44:05.039 --> 00:44:06.320
Senders arrivals.
336
00:44:06.679 --> 00:44:08.079
Some like it Hot.
337
00:44:51.360 --> 00:44:55.119
From Bluebird Records with Charlie Barnett and his orchestra. Judy
338
00:44:55.199 --> 00:44:56.199
Ellington vocals.
339
00:44:56.360 --> 00:44:57.840
Some like It Hot.
340
00:44:58.800 --> 00:45:03.079
Recorded in New York City back in nineteen thirty nine.
341
00:45:03.519 --> 00:45:06.320
I'm Jeff Bresler. This is to make believe Ballroom. I'm
342
00:45:06.360 --> 00:45:09.559
in the Crystal studio regaling you with the collection of
343
00:45:09.679 --> 00:45:13.840
seventy eight RPM records and radio remotes. And I do
344
00:45:14.079 --> 00:45:16.719
that each and every week here on the show.
345
00:46:16.840 --> 00:47:29.199
I may and anything, didn't anything.
346
00:47:37.480 --> 00:48:19.199
They That was Johnny Hodges and his Orchestra with Queen Bess,
347
00:48:19.639 --> 00:48:23.760
recorded for Victor Records on November the second, nineteen forty
348
00:48:23.880 --> 00:48:29.159
in Chicago, Illinois. Johnny, one of the alto sax greats,
349
00:48:29.480 --> 00:48:33.320
is best known for solo work with a gentleman. I
350
00:48:33.599 --> 00:48:37.800
just mentioned Duke Ellington. He played lead alto in the
351
00:48:37.920 --> 00:48:41.119
seventies for the Duke. I think he had his own
352
00:48:41.559 --> 00:48:45.199
orchestra for a few years, if I'm not mistaken, in
353
00:48:45.360 --> 00:48:49.719
the early fifties, but that was a pretty quick stint
354
00:48:49.840 --> 00:48:54.679
and he ultimately went back to Duke. I would say that,
355
00:48:54.880 --> 00:49:00.440
along with Benny Carter in the nineteen thirties especially, Hodges
356
00:49:00.559 --> 00:49:03.280
has to be considered to be one of the definitive
357
00:49:03.559 --> 00:49:09.000
alto saxophone players of the entire big band era. Now,
358
00:49:09.159 --> 00:49:12.960
in the record we just heard, Johnny and his Orchestra
359
00:49:13.280 --> 00:49:17.199
were in actuality the front name for one of the
360
00:49:17.400 --> 00:49:22.079
many Duke Ellington small bands. Small band in that record
361
00:49:22.239 --> 00:49:25.320
we just heard, but certainly big music. So why don't
362
00:49:25.320 --> 00:49:29.320
we play one more from Johnny Hodges.
363
00:50:21.239 --> 00:50:41.800
Play and the Son of the Said and I Love.
364
00:50:53.000 --> 00:51:24.719
The Day the Bat.
365
00:51:28.719 --> 00:52:27.920
Nice Buttering, recorded in New York City, on March the
366
00:52:28.000 --> 00:52:34.320
twenty eighth, nineteen thirty eight Rendezvous with Rhythm via Vocalian Records,
367
00:52:34.400 --> 00:52:39.039
Johnny Hodges and his orchestra under the umbrella of Duke Ellington,
368
00:52:39.360 --> 00:52:43.000
and I gotta look this up. Maybe I'll look it
369
00:52:43.079 --> 00:52:47.159
up during the next record we play. I'm almost sure
370
00:52:47.320 --> 00:52:51.199
he was one of the prominent Ellington band members. I'm
371
00:52:51.239 --> 00:52:55.360
talking about Johnny Hodges, who was featured in Benny Goodman's
372
00:52:55.679 --> 00:53:02.280
classic nineteen thirty eight Carnegie Hall Consert. I think we
373
00:53:02.440 --> 00:53:06.639
have time to play one more record, at least before
374
00:53:06.760 --> 00:53:11.079
we close up the Crystal studio, and let's see what
375
00:53:11.280 --> 00:53:12.039
I can spend.
376
00:54:06.840 --> 00:54:10.079
Bring it high and bring it mold, bring it everywhere
377
00:54:10.320 --> 00:54:10.559
you go.
378
00:54:11.360 --> 00:54:16.079
Oh sing it, yeah, man, swing it now, bringet left, night,
379
00:54:16.159 --> 00:54:17.639
swing it right, bring.
380
00:54:17.639 --> 00:54:19.920
It morning noon, and oh.
381
00:54:21.559 --> 00:54:23.199
Yes, sing it now.
382
00:54:23.480 --> 00:54:27.920
Harmony is a melody. It's let him wing. Don't you
383
00:54:28.079 --> 00:54:30.800
know that if you don't bring it it don't mean nothing.
384
00:54:31.360 --> 00:54:32.840
Bring it up, mad, swing it.
385
00:54:33.599 --> 00:54:34.800
Bring it all around.
386
00:54:35.960 --> 00:54:39.039
Oh sing it, yeah it.
387
00:55:13.360 --> 00:55:13.559
Just this.
388
00:56:22.880 --> 00:56:27.760
I mentioned the equally great alto saxophonist Benny Carter a
389
00:56:27.840 --> 00:56:31.800
few moments ago, a contemporary of Johnny Hodges. So for you,
390
00:56:32.159 --> 00:56:36.920
I just played from Columbia Records. Swing It by Benny
391
00:56:37.000 --> 00:56:40.880
Carter and his Orchestra Vocal by Benny Carter, recorded in
392
00:56:40.960 --> 00:56:45.519
New York City, March the fourteenth, nineteen thirty three. In folks,
393
00:56:45.639 --> 00:56:48.679
we are totally out of time. Thanks so much for
394
00:56:48.840 --> 00:56:52.559
joining me today to reach me. I'm Jeff at Make
395
00:56:52.639 --> 00:56:58.079
Believe Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroomradio
396
00:56:58.320 --> 00:57:00.840
dot com. I want to take a moment to thank
397
00:57:01.000 --> 00:57:05.119
our syndicators and distributors for offering the Make Believe Ballroom
398
00:57:05.320 --> 00:57:10.119
cost free to commercial, free, public, community, and university radio
399
00:57:10.280 --> 00:57:14.360
stations across the US, as well as in the United Kingdom.
400
00:57:14.519 --> 00:57:19.840
They are the Public Radio Exchange PRX, the PACIFICA Network,
401
00:57:20.360 --> 00:57:25.519
and Global Community Radio. The program's flagship affiliate is Jazz
402
00:57:25.719 --> 00:57:31.079
ninety point one WGMC in Rochester, New York. The Ballroom
403
00:57:31.239 --> 00:57:35.599
is also heard on your favorite podcast provider or Going
404
00:57:35.719 --> 00:57:40.320
to Make Believe Ballroom dot com. So friends, until next week,
405
00:57:40.679 --> 00:57:42.760
this has been Jeff Bresler
