Aug. 15, 2025
Make Believe Ballroom - 8/15/25 Edition
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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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It's make Believe ballroom time. Put all your cares away.
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All the bands are here to bring good cheer your way.
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It's make Belief ballroom time and free to everyone. It's
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no time to friend your Dalis said bombs. Close your
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eyes and visualize in your solitude. Your favorite bands are
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on this dance And.
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Mister Miller, what's you're in the mood?
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It's make Believe ballroom time.
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We are a sweet romance is to make the lead bottom.
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Come on, Jill, the last dance Last.
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I'm Jeff Bresler, turning on the lights of the Make
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Believe Ballroom and welcoming you into my Crystal studio for
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another program of classic big band hits from the nineteen
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thirties and nineteen forties. Please get ready as I play
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for you some amazing big band jazz, swing, blues, and
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boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom,
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broadcasting almost continuously since nineteen thirty five. Hi, folks, and
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welcome once again this week into the Crystal Studio. I
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have fired up the turntable and I'm going to shall
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we say ignited with well, how about a little jitterbug.
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Dubbed the Jitterbug just a silly look, young and wild
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but lots of style. Is dub the Jitterbug just a
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crazy mug drinks liquor. By the joke, he's alive with
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lots of jive. Dubbed the Jitterbug. They threw him out
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of school because all he learned was tiger ray.
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He never knew the Golden rule.
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The boy how he can shame? Dug the Jitterbug cuts
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a wicked rug.
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It ain't no shame.
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He's not the blame. He's dubbed the j s.
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Blo.
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He studied to be a lawyer, but he never got
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a kiss. Every time they look for that cat and court,
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he'd be do win the Paddy Weiss. It's gonna talk
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about it. Dub the Jitterbug cuts a wicked rugg. It
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ain't no shame. He's not to blame. He's Doug the Jitterbug.
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On Decca Records from March the twenty ninth, nineteen thirty nine,
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Doug the Jitterbug, Louis Jordan and his Timpany five Let
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me play one more then, Perhaps the greatest crooner of
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all time turned down by one of the greatest big
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band Leaders of All Time did from Decca Records. For
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Dancers Only, written by Cy Oliver and performed by Jimmy
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Lunceford and his orchestra, recorded in New York City, June
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the fifteenth, nineteen thirty seven, and No Friends, You're Not
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Crazy for Dancers Only does share a thematic link with
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the song Christopher Columbus because a portion of that tune,
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I guess was indeed inspired by or derived from the
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swing tune hit Christopher Columbus. I'm not Christopher Columbus but
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Jeff Bressler, and you're listening to the weekly edition of
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The Make Believe Ballroom. Dave Garaway Nay might sound familiar
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to you. He was a brilliant radio and TV announcer
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and host. Well actually, if I'm not wrong, Dave was
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the first ever host of NBC's Today Show. He was
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also the first host of NBC Radio network's program Monitor.
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Some of you might recall the program Monitor was a
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national weekend show being by NBC Radio to their affiliates,
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and each week it featured news, sports, human interest stories,
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a lot of celebrity in political interviews. So the cut
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I'm about to play, I think was just pre Monitor
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but it featured Dave garviewing Frank Sinatra, who on the
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radio made a rather startling admission.
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Glenn Miller's band was touring across the country big one
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night stands one after another. When they were doing that,
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there was a young fellow named Frank Sinatra who was
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also beginning to get a whole on the nation's hut. Frank,
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where were you when you first heard the Miller band? Well, Davis,
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as best I can.
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Remember, I first had the.
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Middle Band sometime between thirty eight and thirty nine, and
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I was in New Jersey at the time. I was
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segueing between trying to make a buck here and there
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and Glenn first out of that new sounding band that
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he had, and I believe at the time he was
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at the Glen Island Casino. Yeah, what were you doing
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yourself professionally? About the professionally, I used the word loosely.
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I was working in a place called the Rustic Cabin.
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It was a little saloon on the Route nine W
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in New Jersey, just beyond the George Washington Bridge out
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still there, we had a good look at the riviera
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where all the big stars were working.
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And I was getting in.
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Those days what is commonly known as coffee and cake money,
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except that the cake was getting very expensive in those days,
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so I settled for cream, cheese and nothing date sandwiches. Rag,
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Do you remember any interesting bits and connections.
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With the band?
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The first time I heard the Glenn Miller band, I.
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Walk up to him.
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I said, Glenn, I want a job. I really did,
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but he was busy hiring a ray Ebie at the time,
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and he said.
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You'll call me.
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I'll call you in essence, I mean, not seriously. But
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I did get to meet Glenn quite early in my career,
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and we became great friends as a matter of fact,
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and there was no particular incident really that's too exciting,
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except that every time I heard the band, I got
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a big boot out of it. And I still do
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want to hear some of the records that they made
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in those days.
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I mean so.
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In this brief nineteen fifty four radio segment with Dave Garaway,
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Frank Sinatra revealed that he was turned down for a
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job as vocalist by Glenn Miller when Miller was forming
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his new band in nineteen thirty eight. That is something
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not included to my knowledge, in many of the biographies
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written about Sinatra. Shortly after Frank got dissed, Harry James
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asked him to join his band. And I'm going to
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discuss that in just a moment. But during the Sinatra
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interview the Garaway piece, Frank mentioned the Glen Island Casino
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and Miller playing there. Glenn was very fond of the
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Glen Island Casino, which was located in New Rochelle, New York,
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and he honored the venue with this tune.
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Anything Anything, the.
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Things from Bluebird Records, Glen Island Special written and arranged
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by Eddie Durham, Glenn Miller and his orchestra, recorded in
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New York City, July the twenty sixth, nineteen thirty nine. So,
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as I mentioned earlier, Sinatra, after getting dissed so to speak,
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by Miller, landed his first Sinatra's first big job as
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a vocalist with Harry James. Back in nineteen sixty eight,
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Harry was interviewed on the radio by a DJ well
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a DJ that many of our Philadelphia listeners might recall,
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and I'm talking about Ken Garland who was on WIP Radio.
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And during that interview, Harry James reminisced about how he
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discovered Frank and why he allowed Sinatra to leave his
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band in order to join the Tommy Dorsey Orchestra, where Frank,
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as we all know, really made his mark.
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The legend girl was talking about hearing people that you
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were lying in a hotel room and turned on the
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radio and herd a remark from the rustic Cabin trip
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in Englewood something, or rather New Jersey, and a singer
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you liked pretty good had hired for the band, and
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he was doing fairly well. And one day he came
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to you and said, Harry, I got an offer from
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Tommy Dorsey and I want to go, And you said,
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go with my blessings. What do you think would have
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happened to the history of the world if you would have.
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Said no the flanks or not?
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Well, I tell you this is quite a story, because
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it is true that we were playing at the Paramount Theater,
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New York, and I heard this remote and I went
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out the next night and I went out to hear him,
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and the manager I didn't want to let him sing
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because he said he's the MC's I just let him
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sing a song once in a while, But actually he's
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there's the MC and Arson show. And he came over
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to the table and sat down. The next day, came
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down to the Paramount Theater and came with us and
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unpeteen dollars a week. And unfortunately, most of the weeks
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we couldn't afford to pan the seventy five because we
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weren't making that much money. Yeah, and at the time,
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his wife was just about two or three months await
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and having the child, Nancy, And he said, as it's
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kind of tough, he's in the hospital, bills and everything.
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He said, I got a chance to go with Tommy.
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He's gonna pay me one hundred and fifty dollars a week.
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Wow.
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So I said, well, that sounds wonderful to see if
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you can get me on with you. But he still
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owes me five months at seventy five hours a week.
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And so I tease him and I say, okay, Frank,
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come on, you're gonna sit in the bend. And says, okay, boss,
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anytime you want it, let's go.
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I gotta high have the quote here. It says I'm
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ready anytime, just call me and I'll be there on
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the stand.
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That's a right, wouldn't I tell you. He's just the
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kind of a guy who would do it too. Believe me, really, yes, sir,
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He's a great.
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Man, great story, and now a great tune by Harry
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James and Frank Sinatra.
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In the moon hangs low, there's a handsome gone every night.
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He seems so happy, So his lady love came here.
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In a manner, so buffy, sable.
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He repee Ti sadany, and his heart beat so forty samore.
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When she raises herbanies and the shade.
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Chur Rabin, chiverrabin, chiriverribin, cheery rabin.
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He waits for her, eats nighe beneath her balcony.
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Chiverybin.
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He begged to hold her tide, but nor'es she all agreed.
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Chur ribin. She throws a rose and blows a kid
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from up a bar.
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Chur birby, chur bby, churre burbon. There's so in law,
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churburb chur verb, churre verb, there's song in law.
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On Columbia Records, cheer a vera Ben by Harry James
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and his orchestra, vocal by Francis Albert Sinatra, recorded in
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Los Angeles, November the eighth, nineteen thirty nine. I'm Jeff Bresler,
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and you're listening to the one, the only, the original
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Make Believe Ballroom broadcast almost continuously since nineteen thirty five.
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Let me play another record, then we will go to
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a listener's email.
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Yeah, the man in the bad.
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M Boom boom boom b.
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M sayle.
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From the.
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Rose from Columbia, Northwest Passage by Woody Herman and his orchestra,
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recorded March the first, nineteen forty five. A few weeks
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back on the show, I discussed how Fletcher Henderson, the
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great band leader, pianist, arranger and composer, hooked up with
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Benny Goodman to sell him arrangement when Benny was in
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need for a radio program, the radio show Let's Dance
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that he was doing at the time, and that sale
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of arrangements ultimately formed a great collaboration between Benny and Fletcher.
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I also mentioned that, to my knowledge, Fletcher Henderson, who
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I said played the piano, never appeared on a record
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or radio program with the Goodman Band. So our avid listener,
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Max Kitani, who lives in Italy, he did his magic
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and he sent me this email. It reads hi, Jeff.
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During the last edition of the Ballroom, I heard a
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listener asking if Benny Goodman and Fletcher Henderson ever played together.
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I found a radio program from nineteen thirty nine in which,
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according to what is announced, Fletcher was at the piano.
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So on one file I put the two tracks sent
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for you Yesterday and pick a Rib. Henderson makes the
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arrangements and plays the piano. I hope it satisfies the
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curiosity of all of the listeners. Thank you very much
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for your kind attention and pest regards from Max. Well,
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Thanks Max, I have downloaded the file you sent me
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two back to back Goodman and Henderson's from a radio program,
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a program that I don't know the name of. The
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two songs featured are sent for you Yesterday and pick
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a Rib.
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The next number you'll hear the band play is an
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old blue sent to you yesterday, and here you come today.
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Hey Benny. If that's the blues, what happened to the
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words on it?
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Well?
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In our version of sent for you Yesterday, we've we've
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loved the words bert and concentrated on the tune. And
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now you'll hear Pletcha Henderson at the piano cuts Mondelo saxophone.
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Diggy Ellman is the comped a seat and so yesterday, Hey,
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here we go.
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The Acha Henderson's piano introduction is a signal for the
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joint to start jumping as the band moves into pick
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a rib a real stop tune of courses by Jimmy
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Maxwell on the trumpet, puts my Dulla on the Sackson
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Benny on clarinet, pick a rib.
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As different.
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