Feb. 21, 2025

Make Believe Ballroom - 2/21/25 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 –some history and tunes from New Jersey's Meadowbrook, a beloved...

Show Notes
Transcript

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It's make Believe Ballom 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 ball and time and free to everyone.

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It's no time to friend your Dalis said bombs. Close

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your eyes and as you lie in your solitude, your

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favorite bands.

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Are on this dance and mister Miller.

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But you're in the wood.

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Its make Believe Ballom Time.

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We are a sweet romance.

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As you make it.

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Come on, Joe.

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Last, dast Last, Hello world, I'm Jeff Presler, turning on

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the lights of the Make Believe Ballroom and welcoming you

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into my Crystal studio for another program of the great

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big band hits of the nineteen thirties and nineteen forties.

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Whether you're listening on the radio via great affiliates like

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Jazz ninety point one WGMC in Rochester, New York, or

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on a podcast, or perhaps on Internet radio across the

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United Kingdom, I'm delighted to bring you an hour of

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some wonderful big band jazz, swing, blues and boogie woogie classics. Folks,

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you're listening to the Make Believe Ballroom, broadcasting almost continuously

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since nineteen thirty five, and if folks, it's now time

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to spin our first record of the program cust Topin

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today's show, we just heard count Bassie playing the piano,

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Freddie Green the guitar, Walter Page string bass, and Joe

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Jones drums from Decca Records. Fairly Well Honey fare thee Well,

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recorded in New York City on January the twenty sixth,

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nineteen thirty nine. When don't we push ahead one year?

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How about a little Jan Sabbat from nineteen forty.

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The fare Fire No s n me n me an?

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That was the Meadowbrook Shuffle Jan Savatt and his orchestra

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recorded in nineteen forty And that song, folks, the Meadowbrook

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Shuffle was actually a tribute to the legendary Meadowbrook Ballroom.

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Its formal name was actually Frank Daly's meadow Brook and

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it was located on Route twenty three on the old

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Pumpton Turnpike in Cedar Grove, New Jersey, and certainly was

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one of the most storied dance big band venues of

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the nineteen thirties and nineteen forties. Daily led his own

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band in the nineteen twenties into the early thirties, before

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trying his hand in ballroom ownership and management, and I

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guess he had the Midas touch because in nineteen thirty

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six all of big bands began to play there, beginning

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with Larry Clinton. The list of regulars later included Kay Kaiser,

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Artie Shaw, the Dorseys, Harry James, and Glenn Miller, among others. Also,

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a large number of great vocalists stood before the microphone

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in the meadow Brook, including Helen O'Connell, Darris Day, the

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Everly Brothers, Bobin Ray, Peggy Lee, and of course Frank Sinatra.

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Now what really made the Meadowbrook famous in terms of

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drawing crowds and gettingationwide exposure was the publicity the ballroom received.

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Is one of the great locations for big band radio remotes.

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So why don't I play a few songs that were

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heard on the radio from the meadow Brook. Let's start.

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I have three here.

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Why don't we start with this one. Let's start with

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an NBC radio remote featuring Glenn Miller and his orchestra.

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The National Broadcasting Company invites you to listen to music

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by Glenn Miller. Once again, Ladies and gentlemen, it's dance

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time at the meadow Brook, your host that well known

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next sponent of the swing from Bone, Glenn Miller and

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his orchestra, local variations by Marion Hutton and Ray every

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Glen Miller and his lads play for your Dancing Pleasure

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nightly after meadow Brook on a newest Compton train flike

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between Montclair and seated role in New Jersey program of

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the Dance Ladies and Gentlemen. Glenn Miller and his orchestra

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with the spotlight on that charming little gallop song Marrion

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Huton and it's got to get some shut.

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M hm, m hm.

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Got to get some shut ey, give the world to

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go find, got an apple man of dream and did

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to got to get some shut ey when kisses for fi.

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Got an ample lot of drinks to come Gon and

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let man s me spingle in with din I.

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That all that time.

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Let me hold my baby side, so I'm going bye bye,

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get myself some shut out, got an ancle not of dreaming.

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We just heard the NBC staff announcers opening along with

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Glenn's theme Moonlight serenade from an NBC radio remote broadcast

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from the Meadowbrook Ballroom that took place late on a

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Thursday evening, March twenty third, nineteen thirty nine. The show

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was actually on the air from eleven to thirty pm

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to midnight, and we just listened to Gotta get some

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shut Eye with a Marion Hutton vocal. Let's play a

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Meadowbrook Ballroom remote now, that was also on NBC Radio.

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This one going back to February the fifth, nineteen forty

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featuring Gene Crooper and his.

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Orchestra presenting Gene Crooper his drums and Here's orchestra. Good

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evening and greetings everybody.

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Once again the national broadcast the company has the privilege

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and the pleasure of bringing in the music of Geene

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Crooper and his famous orchestra, Jean Trooper of America's number

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one drummer boy, and tonight as usual, they are playing

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for us. Frank Dylis Meadowbrook located on Route twenty three,

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the New York Pompton Town by Cedar Grove News And

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for our first offering for the evening, Jeane and all

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the boys get together with that old perennial which is

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always delightful to hear.

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The bugle called rag.

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In you don't don.

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That was Jane Cruper and his Orchestra with Bugle Call

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Rag from Frank Daly's meadow Brook Ballroom, Broadcast February the fifth,

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nineen forty and I said I had three. The final

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from the meadow Brook in Cedar Grove. The final radio remote,

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I am going to play this one from Louis Prima.

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One night Stand presents Louis Prima and his Orchestra from

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the meadow Brook on the Newark Coompton Turnedpike at Cedar Grove,

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New Jersey. One night Stand presents the music of Louis

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Prima and his Orchestra with songs by Louie and Lillianne Carroll.

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Music by Louie Prema. Here's an old favorite of yours.

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Well it's not really old, but it's becoming fast. A

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very old favorite Louis and the story note by note

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of Robin Hood Wow.

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Been long years ago, telling me, Robin wast ever chance to.

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You, or you shouldn't get me wrong, because there was

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no square when he's trusty one arrow.

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He could find her in. But it was little John.

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There was Alan and body morn together they hit the tree.

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They were scammed through the farmer so the blue board

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and the heat and told me where they should begin.

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He took from their rich, gave it to the poor man,

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had a fear of fundle only fire his chick his

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name Mary a Hen.

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And here was a switcher roof Robert's lil crew. Richard

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forgave him all and is what they had to. They

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became his wild Rangers and were married.

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So that ends a little tailor Robbins, that's pretty.

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Pretty, little pet.

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How was Louis Prima from Frank Daly's Meadowbrook Ballroom on

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the radio December the twelfth, th teen forty four. So friends,

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just a little tribute to Frank Daly's meadow Brook Ballroom

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that was located in New Joysey right here on the

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one the only, the original make believe ballroom and to

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friends in just a few minutes some listeners emails featuring

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one of those emails read by our producer Emeritus, the

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legendary Lenny from down the block.

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It's a looney tune. You was swing it soon.

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You can time in on the jive, give give.

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It's a simple rep with an easy left.

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That's the group that makes.

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You jib jive jive.

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You have to dig this time for don't let it

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jab sload be not not the jive. Joe up, it's

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not the job again. Nice, you got the ride, you

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can really ride me.

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That's the secret of the jib jive jive. Now you

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got the scribe you can.

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That's the secret of jove, jove jove.

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So, since Larry Clinton was one of the first acts

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ever to play at the meadow Brook, I thought perhaps

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a little Larry Clinton record would be appropriate. That was

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bah booah, Larry Clinton's Bluebird Orchestra vocal by Jack Palmer

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and chorus, recorded on a Bluebird record in New York

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on June the twenty fourth, nineteen forty. And why don't I,

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as I frequently do flip records over, and we'll flip

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this one over and after that read some emails. So

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we're going to go to the reverse side, halfway down

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the street.

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Just a halfway down the street is where we used

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to meet to do our grieving. It was just a

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vacant lie, but what a lovely spot when stars were leaving.

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There wasn't too much room there, and roses worn in

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bloom there, but it still was very sweet. Just half

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way down the street, by a sign that set for sale,

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we wore a fairy tale but kept it quiet.

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We were dreaming of the day we could step right

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up and say, well buy.

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Just by way of showing you that fairy tales come.

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True, will show you one that's all complee if you'll

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visit us someday in our cottage halfway down the street.

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That was halfway down the street Larry Clinton's Bluebird Orchestra vocal,

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this time by Terry Allen, and that was recorded that

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side recorded July the tenth, nineteen forty and it was

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actually a few weeks after Boo Wah Boo was recorded,

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but both tunes placed on the same record, and as

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an additional oddity, two different vocalists on the same record,

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Jack Palmer singing one side of the record with Boo

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Wa Boo Wa and Terry Allen providing the vocal for

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Halfway down the Street and friends here on the Make

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Believe Ballroom. This is absolutely no oddity. Yes, not an oddity,

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because each week we get a number of emails and

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my pleasure to read and respond to a few Jeff

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at Makebelie Ballroom Radio dot com. Jeff at Makebelie Ballroom

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Radio dot com with your comments, requests and record shares,

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and folks before our producer emeritus Lenny from down the

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block reads a recorded email from his palatial ocean front condo. Well,

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it actually you get a view of the ocean, but

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it actually overlooks a Chinese takeout in seven to eleven, Florida.

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Before Lenny, I'd like to read one for you, this

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letter from Bud Dennison, who listens late into the night

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on KPOV radio in Oregon, and he writes, Jeff, thanks

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for bringing us big band music each week. I have

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many favorites, but a song that we often played in

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our home when I was growing up was a tune

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by Lionel Hampton which included my last name in the title,

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the Dennison Swing. I would love if you could play

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it on the radio. Well, Bud, thanks so much for

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listening to the show and writing to us. And Bud,

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I'd be delighted to play that Victor record for you.

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Give me money. I can't.

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Understand the.

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Thing recorded on Victor April of fifth, nineteen thirty nine,

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Lionel Hampton and Zorkas with the Dennison Swing, and that

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record played at the suggestion of Bud Dennison, and, as

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he said in his email, a record and justifiably so,

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that was often listened to in his household when he

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was growing up. How cool is that when you're young

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hearing a record called the Dennison Swing and your last

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name also Dennison. That must have been kind of magical.

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And now, folks, I'm sure you have been sitting on

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the edge of your seat waiting for Lenny from down

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the block, the producer emeritus of the Make Bully Ballroom

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reading a listener's email.

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Thanks Jeff Reno, Hi gang, Lenny from down the block.

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Here to read another listener's email this week, And this

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one comes from Believe it or Not, Jeff. It comes

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from Artie Shaw, not that Arty Shaw, but this already Shaw.

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And he writes, Jeff, my name is really Alaradi Shaw.

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You would think that people would say, like the bandleader,

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but Jeff, they don't, and they never do. No one

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remembers Ardie Shaw. It's a shame. But Jeff, at least

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you do. And that's why I like to make Believe Ballroom.

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I think you know what question I am going to ask, Jeff,

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can you play one from Benny Goodman regards Alreadie saw.

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Down?

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Then I then I.

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Think can I.

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Can I.

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Can I.

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Having hit number one with Moon Glow back in nineteen

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thirty four with an earlier recording featuring his full orchestra,

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Benny Goodman decided to do a double dip and record

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the song again for a different version featuring his quartet.

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In the record we just heard, charted at number eight

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in nineteen thirty six. Benny Goodman quartet Goodman, Lionel Hampton,

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Teddy Wilson and Gene Krupa recorded on Victor Records August

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the twenty first, nineteen thirty six, and that record played

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at the request via the totally preposterous email we just

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heard Lenny from down the block read. And I'm very

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skeptical that that email did indeed come from someone named

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Artie Shaw. So, folks, if we ever get an email

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from Benny Goodman asking for an Artie Shaw, here's one

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for you. At from the nineteen thirty nine MGM film

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Dancing co Eds, we just heard Artie Shaw and his orchestra. Yes, folks,

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the real Artie Shaw with traffic jam. Friends, you're listening

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to the make Believe Ballroom, And I want to thank

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Bud Dennison who listens on KPOV radio and Lenny from

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Down the Block a bud of course for his sincere email,

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and Lenny for his Artie Shaw email, which I'm still

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very skeptical about. But I will now let Lenny make

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amends by playing for you his record pick of the week.

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Hi, gang, this is Lenny from down the Block here

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again to bring you my weekly record pick of the week.

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Let's go back to July the first, nineteen forty six

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for a little vintage Dino. It was on that day

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that Dean Martin made his first ever studio recording. The

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song was titled Which Way Did My Heart Go? Just

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two weeks later, Dean Martin combined with Jerry Lewis to

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create one of the greatest comedy teams of all time.

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Of course, Dean and Jerry eventually split to pursue their

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own wildly successful solo careers.

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Enjoy the record.

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Which way did my Heart goal? One night that we

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made I lost it so completely I never occur again.

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Which way did my Heart Goal?

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One?

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Law?

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And I knew, but I was your for good, my

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search for long with you? I laughed that other guy

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with star dusting eye.

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I never knew the thrill of extasy, but now I

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understand and realize how grand falling in line entry.

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Which way did my heart goal? From me straightening? But Darling,

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I don't mind. I know that you'll be kind to

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the heart I lost when I found you. I laughed

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the other guys the star dust and now.

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I never knew the thrill of ecstasy. But now I

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understand and realize how grand.

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Falling in love y which was in my hard goal

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from me stirteen. But Jarlie, I don't know. I know

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the us to the heart I lost when on.

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F So Lenny did indeed make amends because that was

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a great record, A historic tune from Diamond Records, first

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song ever recorded by Dean Martin, Which Way did My

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Heart Go? With Natt Brandwin and his Orchestra, recorded in

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nineteen forty six. And as I speak, I am looking

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at the playlist computer to see if I have any

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recordings by net Brandwin and his orchestra, not exactly a

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household name, and for whatever reason, I have found a

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record by him. And now, if you give me a moment,

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a quick Google search of net Brandwin.

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Stand by.

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Interesting. Interesting one of those band leaders who played mostly

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in clubs for the good part of his career. Perhaps

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that is why he was not a mainstream a band leader.

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Well known in the thirties and forties, net Brandwin was

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a pianist and orchestra leader who conducted or played for

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many major vocalists, including Frank Sinatra, Perry Como, Kate's Smith,

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and ELP. Fitzgerald. He played in the Waldorfice story as

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Empire Rome for twenty five years, and for the last

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twelve years of his life in the Circus Maximus room

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of Caesar's Palace in Las Vegas. So, ladies and gentlemen, now,

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if you're listening, enjoyment Nat Brandwin.

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They all laughed at Christopher Columbus when he said the

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world was from They all laughed when Anderson recorded Now.

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They all laughed at Bolton Anthemont Hershey and his chocolate

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bar born then his Lizzie kept the labards busy.

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That's how are They laughed at me.

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He wanted you that I was reaching for the moon,

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but oh.

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You came through.

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Now they'll have the chaser too. They all said.

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We never could be happy.

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They laughed at us and House.

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But ho ho, who's gotten the last laugh?

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Now?

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But home, who's got the la?

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La?

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Who got that labnaw.

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A Gershwin standard from Shall We Dance, one of the

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fred Astaire Ginger Rogers treasures of the nineteen thirties. They

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all laughed on Melotone records recorded in nineteen thirty seven

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with a Maxine tappin' vocal. Nat Brandwin and his orchestra

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and def folks, I got sidetracked there by spontaneously looking

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for some music and info on that brand Win. I

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had two records keyed up to play before I have

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to cut out of here, but because of Nat, I

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have time for one of those, so let me spend

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this one, folks. I am sorry, I'm totally out of time.

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We're listening to Hot Lips Page in his band with

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Call of the Wild, and I'll call on you all

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again next week.

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Didn't know, very.

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Lees Le returnable