Feb. 14, 2025

Make Believe Ballroom - 2/14/25 Edition

Show Notes
Transcript

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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Dixie eyes blazing? I will have to sit and gaze

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and through the eyes of Dinah Lee every night. Why

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do I shake with fry because my Dyna mind change

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your mind about me?

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Dinah.

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If she wanted to China, I would have an ocean

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line just to be with Dinah, Lea.

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And Dina.

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Here's the random one fine uh in the state of Carolina.

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If there isnt you know of or show the hat, Dina,

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We're the Dixie eyes blaze and how we love to

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sit and gaze and to the eyes of dynam every night.

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Why do I take with Rye be past my dynamine

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change her mind about.

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Me, Dina?

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If she wanted to China, I would have an ocean line.

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Uh, just to be with.

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Dinah, Liza.

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The music we just heard was written by Harry Ask

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and the lyrics by Sam Lewis and Joe Young. It

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was introduced by Eddie Kanter and the show Kid Boots

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in nineteen twenty five. I'm talking about Dinah and this

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version of Canther's Dinah was recorded sometime in the early

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nineteen forties. So, Lana, I hope you enjoyed this double

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dip from the late great Eddie Kanter and friends. Don't

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be shy if you were like Lana and enjoy music

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from the thirties and forties that was not from big

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bands per se, you could still drop me an email

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and I will certainly on a your request, such as

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I just did for Lana. Once again, Jeff at MakeBelieve

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Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroom Radio

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dot com. And our next email, why don't we play

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some fanfare for this one? I added that to flourish,

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because a few days ago our producer emeritus, the famed

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Lenny from Down the Block, who so many of our

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longtime listeners remember well, he called me from his palatial

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condo in Tampa, Florida and asked me how he could

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remotely do some good here on the Ballroom. I guess

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Lenny getting a little antsy down there in Florida. So

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I discussed it with Lenny and came up with the

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two assignments for him, the first being to read a

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listener's email each week, and the second to provide us

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with a handpicked record selection each week that we will

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call simply Lenny from Down the Blocks record of the week.

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So Lenny, who didn't like to speak on the radio

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and relayed his thoughts to me via our in house

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communications through my headset best way to explain that. But

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for this assignment, I have given Lenny the opportunity to

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record the reading of a listener's email at his own pace,

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in his own home or perhaps on the beach. So

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here is the pretty much rarely heard voice of one

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Lenny from down the Block.

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Thanks Jeff.

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When I produced The Ballroom with you, we frequently received

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emails from a guy called mister McNasty, A total pain

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in the neck. To put it as nicely as I can,

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now that you suckered me into doing this segment each week.

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The email you gave me to read could have been

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from him. This guy wants to remain anonymous. He writes,

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I like your show, but you play way too many

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scratchy records for my taste. They will sound pretty terrible.

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Can you wake on them? That's it, That's all he

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wrote me, and the listeners await your thought provoking answer.

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Ah.

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Yes, indeed, Lenny, we can wake on that for sure,

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and thank you, anonymous listener. The best way for me

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to answer that question is to say that in the

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average year, fifty two shows a year, one hour per week,

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I play probably close to seven hundred songs, and some

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of those I play more than once over the year.

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So let's say I play six hundred and fifty songs

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a year without repeat. Now, many of the more well

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known songs I play have been remastered over the years

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to enhance the sound quality, but many of the lesser

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known ones, the really remote kind of songs I play,

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have never been remastered or painstakingly cleaned up because they

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weren't that popular to begin with. But this show explores

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the big band era and the music industry as a

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whole during the thirties and forties with the records and

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some historical facts and stories that we play and discuss

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here on the Make Believe Ballroom. So some of those

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six hundred and fifty records are going to sound scratchy

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and warped, and anonymous listener, I hope that answers your question.

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I could make this show like Sirious XM's Forties Junction,

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which I listened to a lot, but there they only

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use remastered music for the most part. But then if

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I did that, I would basically playing a loop of

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top hits over and over again throughout the year. So

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I hope that answers your question. That question coming from

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an anonymous listener, and I certainly thank him for his comments,

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00:45:14.360 --> 00:45:17.639
and I thank Lenny for reading the question. Although I

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didn't like the way he said Hello Jeff at the

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00:45:21.840 --> 00:45:27.440
start sort of sounded to me like Jerry Seinfeld's Hello Newman.

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I don't know quite why Lenny did that or how

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to interpret that, but nevertheless I do know how to

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interpret good music.

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Who's that coming? Down the street. Good organ grind. He's

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the latest Brethren king with his organ grind. This week

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00:46:49.239 --> 00:46:57.639
that yeah, that yea, that yea, that yeah.

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Where he turns that handle down, musicals around run everybody

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00:47:06.039 --> 00:47:09.679
starts to sing to that organ rye this week.

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That ye.

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That ye.

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That ye.

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That ye.

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We just heard on Rex Records, Jack Payne and his

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band with Oregon Grinders Swing, recorded in London in October

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of nineteen thirty six. And that Swinger honors my weekly

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pledge to play music from the United Kingdom on each

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00:48:50.840 --> 00:48:55.000
and every edition of the Make Believe Ballroom to honor

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our loyal listeners across the Pond. And as I mentioned earlier,

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we now present the first installment of Lenny from Down

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the Blocks Record of the Week.

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But today's Lenny from Down the Blocks Record of the Week.

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I want to acknowledge a bandleader who went by the

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name of Jolly Coburn. Surprisingly, I found very little information

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about him or his orchestra. It is known that Jolly

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Coburn was the first band to play at the world

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00:49:26.719 --> 00:49:30.920
renowned Rainbow Room at Rockefeller Center. Unfortunately, I could find

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00:49:30.960 --> 00:49:34.760
no additional information about Coburn's career, although he seems to

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00:49:34.800 --> 00:49:38.800
have recorded a dozen sides. I guess his group was

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probably best known as a club band and radio orchestra.

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Today asked Jeff to play the Bluebird records Have You

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00:49:47.519 --> 00:49:51.039
Got Any Castles? I think it was first recorded by

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00:49:51.159 --> 00:49:53.800
Dick Powell. This version comes to us from a nineteen

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thirty seven recording. This record is from the fifth and

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final commercial recording session, credited to the Jolly Colburn Band.

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The vocalist was the equally unknown Joan Brooks.

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Enjoy the record, Have you got any mountains that you

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00:51:01.199 --> 00:51:06.599
want to have? Plumb baby? Have you got any oceans

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that you want to have? One? Maybe I'll get out

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of my bonnet and shawl, I'll get into mind nothing

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00:51:15.400 --> 00:51:18.840
at all. I'll give out with a white smuller crows

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00:51:19.639 --> 00:51:22.760
and over the waves, I go splash, splash. Have you

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00:51:22.920 --> 00:51:28.360
got any continents you want me to fly byby? Oh?

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00:51:28.480 --> 00:51:31.840
There just isn't anything that you and I can't do.

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After all my adventures are through you and.

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I bring home my metal or two.

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You can tell all the papers that I did it

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00:51:42.159 --> 00:51:44.679
because I love you?

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Sho shot.

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Have you got any castles? Jolly Cockburn and his orchestra

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And thanks Lenny for the intro and information provided from

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00:53:11.360 --> 00:53:16.000
your first installment of Lenny from Down the Blocks Record

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00:53:16.280 --> 00:53:17.320
of the Week.

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Smart, though I'm not quite as smart as you, I

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00:53:36.840 --> 00:53:38.960
could teach you just thing or dudes.

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00:53:39.280 --> 00:53:46.679
Smart, smart, don't you know that you should hold me?

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00:53:47.920 --> 00:53:54.239
Can't tell when you've met the live? Sm Oh? You

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00:53:54.440 --> 00:54:00.639
may know ever startble, You're in need?

393
00:54:01.440 --> 00:54:03.519
No less, sit in love?

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00:54:04.000 --> 00:54:04.719
You know it all?

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00:54:05.199 --> 00:54:09.960
Small, can't see had hug.

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