Feb. 14, 2025
Make Believe Ballroom - 2/14/25 Edition
On this week's Make Believe Ballroom broadcast on member-supported Jazz 90.1 in Rochester, NY, and other fine radio affiliates across the United States as well as in the United Kingdom –Glenn Miller's first recording as a bandleader, Lenny from Down...
On this week's Make Believe Ballroom broadcast on member-supported Jazz 90.1 in Rochester, NY, and other fine radio affiliates across the United States as well as in the United Kingdom –Glenn Miller's first recording as a bandleader, Lenny from Down the Block returns, Some Bunny Berigan records and a story about the great trumpet player, listeners emails - this and many more great records to enjoy on the show.
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It's make believe ballroom time.
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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 believe ballroom time and free to everyone.
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It's no time to friend your Dalis.
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Said Bamba.
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Yours.
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Close your eyes and vis you lie in your solitude.
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Your favorite bands are on list Dance and Mister Miller,
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but you're in the mood.
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It's make believe ballroom time.
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We are a sweet romances you make believe.
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Come on, Jim Last dance less. Hi, folks, I'm Jeff Presler,
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turning on the lights of the make Believe ballroom and
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welcoming you into my crystal studio for another program of
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the great big band hits of the nineteen thirties and
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nineteen forties. Whether one of my longtime listeners or a
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new listener on public, community or university radio stations across
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the US as well as in the UK, grab your
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dance ticket. It's free and let's listen to some wonderful
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big band jazz, swing, blues and boogie woogie classics. Hello World,
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and from coast to coast on stations like Jazz ninety
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point one WGMC in Rochester, New York and other fine
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radio affiliates. I welcome you all to the Make Believe Ballroom,
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the one, the only, the original Make Believe Ballroom, broadcasting
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almost continuously since nineteen hundred and thirty five and now friends.
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As the host of the Make Believe Ballroom, I proclaim,
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I guess I'm allowed to do that. As the host,
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I proclaim it's time to get the music underway.
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Be before.
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We just heard from Decca Records, Swing Low, Sweet Chariot
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by Glenn Gray and the Castloma Orchestra, recorded in New
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York City, July the twenty third, nineteen thirty seven, and
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jitter buggers must have loved that one, and a great
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way to start the show. And while we're on, Glenn Gray,
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why don't I flip that Decca record over to the
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A side.
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When someone has turned you down, lots of others left
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in town. When you get that runner round, let her go,
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let her go, let her go, let her go.
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Don't let troubles boil your days. Brubbbules never came Tuesday.
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You can't send them on that way. He let her go,
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let her go, let it go, let it go. Get
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dog blouder go By tells him go by. You'll find
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a rainbow after while. When the brain goes. When it
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seems that you can't win your aunt outside the gun in,
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that's the time shirt begin. Let her go, let her go,
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Let her go. How grady, you know what you do
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when you think you're feeling blue.
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Come on, grady, swing a rude, let her go, let
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her go, Let her go.
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Brother hunch is you all said, come up here with
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your clarin that they are something we ain't heard yet.
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Let her go, let her go, let her go, Let
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her go.
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Boys, I'm gonna start to play. If you're smart, you'll
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move away.
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When I quit. You're gonna say.
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On Decca. Let her Go by Glenn Gray and the
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Castloma Orchestra Vocal by Peewee Hunt, recorded in New York City,
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July the second, nineteen thirty seven. And I just noticed
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that the great band leader Larry Clinton wrote that song
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along with Julian Kay. So let me now pick a
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record by Larry Clinton himself. And this is an interesting one.
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Bucks, look a little paper.
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My.
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We just heard a record that was released as the
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first ever Clinton and his Orchestra recording. It was on
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Victor Records. The Big Dipper, recorded in New York City,
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October fifteenth, nineteen thirty seven. Friends, I'm Jeff Presler, and
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you're listening to the weekly edition of The Make Believe Ballroom.
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I want to take a moment to mention that a
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little later on in the show, a popular guy on
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the Make Pulley Ballroom makes his return. But friends, back
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to the business at hand. After replaying that Larry Clinton record,
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The Big Dipper, I am now going through the playlist.
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I'm going to try to find a record I listened
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to a few days ago by one of the most
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well known band leaders of the big band era, but
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not that well known at the time because just like
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Larry Clinton, it was his first record release. Give me
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a minute, let me look for that song. And in
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the meantime, sometimes.
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I wonder why I spend the learning man or baby
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dreaming of a gong.
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The melody haunts my memory.
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And I am one stand.
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When I love what you love was.
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And excuse an inspiration he but that would long ago.
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And now my God's lation it's in starts.
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I go.
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Where it starts up. Fright that we bid it, sir,
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you are them.
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The that in you love this ri a Paradise Now,
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don't my dreams in me?
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Harmon in my Heart?
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Been on the Stunner.
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On the Brunswick label. Stardust the Great HOGI Carmichael classic
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here by Louis Prima and his New Orleans Gang vocal
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of course by the unmistakable voice of mister Prima, recorded
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in New York City, September twenty seventh, nineteen thirty four.
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And how can you not love? Any version of that
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song star Dust, and hundreds of course have been recorded
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over the years. And I mentioned before Louis Prima that
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I was going to look for a record I listened
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to a few days ago that, like Larry Clinton, features
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the first time this band leader ever made a record.
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See if you may be able to sense who he was.
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Different, you are so much you will listen to the little.
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Now, folks, I'm going to have to preface that record
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with the understanding that And first let me say that
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was Glenn Miller's first time ever recording where on a
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record label it said Glenn Miller and his Orchestra, but
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an actual Glenn was still a couple of years away
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from fronting his own band, but he was given label
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credit for this one off nineteen thirty five studio record,
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using many of the members of the Ray Noble Orchestra,
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including as We Just heard a Nice trumpet solo by
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Bunny Berrigan. The record was released by Columbia. It was
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titled Solo Hop Glenn Miller and his Orchestra, recorded in
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New York City, April twenty fifth, nineteen thirty five. So now,
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why don't I play more recognizable? Glenn Miller and his
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Orchestra tune then, folks, a few of your emails.
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Each night a day under a window he plays.
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He would look up and out, ain't you coming out
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my party? Pretty mamo? Ain't you coming out?
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He never played music for his seventimes.
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He just look up and shouts, ain't you coming out
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my party? Pretty, pretty mamo?
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Ain't you coming out?
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To man?
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He couldn't drama, guitar, a benjoar, mandolin, he couldn't sing
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John Along, he couldn't whistle mham. He just come there
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and shouted each coming out, each coming out, each coming out,
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each coming out.
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On Bluebird Records, Ain't You Coming Out? By Glenn Miller
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and his Orchestra, vocals by Marion Hutton and Tex Beneke,
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recorded in New York City, June the twenty second, nineteen
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hundred and thirty nine, and before I read a few
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emails from listeners, I remembered that there was a story
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I wanted to tell you about Bunny Berrigan a few
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weeks ago, but I forgot to do. And by playing
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Solo Hop a couple of records back and mentioning he's
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trumpet solo, it triggered my mind. So let me tell
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you that story. Bunny Berrigan, as many of you might know,
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recorded as a sideman on literally hundreds of commercial records,
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most notably with the Dorsey Brothers, and of course on
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Glenn Miller's earliest recording as a band leader. He recently
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played solo Hop. Now, at the same time that Berrigan
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was recording Solo Hop, he also was joining Benny Goodman's
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swing band. Jazz entrepreneur John Hammond, who we have discussed
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on this program many times.
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Well.
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Hammond in nineteen thirty five became Benny Goodman's brother in law,
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and he Hammond wrote that he helped persuade Gene Kruper
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to re he joined Goodman, with whom he had in
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earlier falling out by mentioning to Jane that Bunny Berrigan,
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whom Crouper deeply admired, was committed to joining Benny's band,
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So Croupa, learning that Bunny would be playing with Goodman,
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did indeed, with John Hammond's gentle push, rejoin Benny, and
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just months later, Berrigan and Crouper and Benny's Orchestra performed
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at the Palomar Ballroom in Los Angeles, and that first
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night performance has often been credited as the official day
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that the swing era launched back in August of nineteen
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thirty five. Now, Bunny Berrigan recorded a number of solos
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while with Goodman, including King Porter, Stomp, Sometimes I'm Happy
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and Blue Sky. So let me play one of those
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for you now.
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A.
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Member, my most.
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Contact, We just heard Blue Skies Benny Goodman and his
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Orchestra with Bunny Brigan on the trumpet, arranged by Fletcher
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Henderson and recorded in nineteen thirty five. Now, I promise
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I'll get to a few emails. But since I mentioned
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Bunny Beregan, how about one with Bunny Gene Crooper and
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Benny Goodman playing for the Bill Dodge Orchestra in early
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nineteen thirty four.
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But the.
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Skill that was Tapping the barrel, Bill Dodge Orchestra featuring
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Benny Goodman, Bunny Berrigan and Gene Krupa and now folks.
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Letners, letters stocks letters, Ah, yes, we get not letters
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but emails, and I encourage you to comment, request and
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share your music and thoughts with us.
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I'm Jeff at Make Believe Ballroom Radio dot com. That's
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Jeff at Make Believe Ballroomradio dot com to reach me,
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And our first email this week comes to us from
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Lana and she writes, I found the Make Believe Ballroom
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through a Google search and listen to a show on
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Apple podcast I loved it. I am new to the
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Make Believe Ballroom. But do you play songs by the
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likes of Al Jolson or Eddie Canter. I will keep
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on listening and that was signed Lana. Thanks Lana for
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two things. First, for finding and listening to one of
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our podcast versions of the show in your instance on
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Apple Podcasts. As I've mentioned the show to make Bully Ballroom.
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Once it is played for all of our radio affiliates,
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I take the show and put it into podcast archives
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for you to enjoy and have the opportunity to listen
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to past programs and The second point is I do
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not traditionally play Jolson or Canter on the show. But
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for you, Lana, how about a little Eddie Canter, the
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great singer, actor and perhaps the most famous and most
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listened to of all the radio stars during the nineteen
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thirties and forties.
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Who's that coming down the street?
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Who's that looking so fatigue? Who's that coming down to
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meet me here?
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Who's that?
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You know?
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Who?
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I mean, sweetest who you've ever seen?
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I could tell him miles away from here. Yes, sir,
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that's my baby.
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No, sir, don't mean maybe, Yes, sir, that's my baby now, Yes, ma'am.
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We decided, No, ma'am, we won't hide it. Yes, ma'am
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you're invited now.
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By the way.
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By the way, when we reach the preacher, I'll say
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with feeling, yes sir, that's my baby.
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No, sir, don't mean maybe, Yes, sir, that's my baby now, Yes, sir,
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that's my baby. No, sir, don't mean maybe, yes, sir,
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that's my baby.
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Now.
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Well, well look at that baby you tell don't say
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maybe new smells? Won't she call some row pretty soon?
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Pretty soon we will hear that low and grin too.
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Who should she be, sir, No one else but me, Sir, Yes, Sir,
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That's my Baby No.
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Originally recorded in nineteen twenty five and updated a number
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of times. That was an Eddie Canter's standard. Yes Sir,
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That's My Baby written by Walter Donaldson with the lyrics
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by Gus Kahn. And let Me play for you Lana,
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another Eddie Canters standard.
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Carolina gave me, Dina, I'm.
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The proudest one beneath the Dixie sun.
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News is breddin bow the weddom.
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I hear church bells ringing. Here's the song my heart
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keep singin Dinah? Is there any one final in the
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state of Carolina?
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The reason you know her?
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Swer to me?
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Or Dinah with the.
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111
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119
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128
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134
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135
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136
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138
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139
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140
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141
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142
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143
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145
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146
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148
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149
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150
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157
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159
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160
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161
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162
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163
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164
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170
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172
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174
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175
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176
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177
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178
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179
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180
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181
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182
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183
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184
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185
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190
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191
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192
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197
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198
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199
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200
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201
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202
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212
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213
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214
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232
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239
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240
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241
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242
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