April 25, 2025
Make Believe Ballroom - 4/25/25 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 and the United Kingdom – a long-forgotten New York area Ballroom, a postage stamp series from the...
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 and the United Kingdom – a long-forgotten New York area Ballroom, a postage stamp series from the 1990's that featured over 20 big band legends, Lenny from Down the Block with his Record Pick of the Week - this and many more great songs and stories to cherish and enjoy on the program.
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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. It's
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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 visual lie in your solitude.
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Your favorite bands are on this dance and mister Miller,
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but you're in the mood. It's make believe ballroom time.
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We are of sweet romance as you make it bottom.
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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 today on the radio via great affiliates
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like Jazz ninety point one WGMC in Rochester, New York,
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or maybe enjoying the program on podcast, or perhaps you're
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listening on internet radio across the United Kingdom. Anyway you've
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gotten here, I'm delighted and I'm ready to bring you
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an hour of some wonderful big band jazz, swing, blues
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and boogie woogie classics. Folks, you are listening to the
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Make Believe Ballroom broadcasting almost continuously since nineteen thirty five,
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and friends, welcome once again into my Crystal studio and
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uh well, I want to extend that party. Welcome to
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you with this record.
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All gotcha then God rhythm, All godschalem got swie.
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Oh maybe haven't got money, Maybe haven't got you. All
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God Chilen got.
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Rhythm, not push away the blues.
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All Godschulen got trouble. Troubles don't mean nothin.
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When they got to go How do you hoard you heart?
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Troubles bound to go away? Tell me all gods Chilen
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got swie.
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I'm Victor, all God's children. Bunny Berrigan and his orchestro
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with very nice Ruth Bradley vocal, recorded in nineteen thirty seven,
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and that was our first record selection for you today
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on the Make Believe Ballroom. And now for our next.
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Tune, somebody at.
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It was Glen Island Hop by Larry Clinton and his orchestra,
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recorded on Victor Records back in nineteen thirty seven, and
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of course that song was Larry Clinton's tribute to the
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legendary Glen Island Casino which was located on the Long
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Island Sound in New Rochelle, which is a part of
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Westchester County in New York, and the Glen Island Casino.
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And I must preface that with saying that Glen Island
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and many other ballrooms, dance halls and nightclub venues during
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the big band era were not the type of casinos
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associated with gambling, but instead they really described simply a
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place for public entertainment. So in nineteen thirty two, the
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Glen Island Casino they started to book dance bands into
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the venue, where the Ozzie Nelson Orchestra was the first
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booked in and they gained increased national attention from their
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appearance at Glen Island. Let's play one from Ozzie, then
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more about the iconic Glen Island Casino and Ozzie Nelson
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and his orchestra with Jersey Bounce recorded on Victor Records
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in nineteen forty two. And as I mentioned earlier, Ozzie
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had the first big band to play at the Glen
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Island Casino in New Rochelle, New York. And well, even
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though the Glen Island was in New York, I guess
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Ozzie Nelson was very fond of New Jersey because he
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also recorded this record.
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Today and had captive tected.
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Cameras.
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De SIPs the Sims SIPs the.
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Thing with the Painted.
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Jersey Jive. Ozzie Nelson and his orchestra recorded on Victor
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Records April twenty ninth, nineteen forty one, in Hollywood, California.
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So why was Ozzie Nelson so enamored with New Jersey. Well,
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perhaps because on March the twentieth, nineteen o six, he
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Ozzie Nelson was born in Jersey City, New Jersey. Ozzie Nelson.
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So back to the Glen Island Casino. I mentioned that
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Ozzie was the first big band to appear at Glen
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Island in nineteen thirty two. The next the most influential
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band in the United States during the early nineteen thirties,
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the Castloma Orchestra drew in the crowds at the casino.
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Let's hear one from Glenn Gray and the Gang.
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Children.
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He's the story of the new kind of Boogeyman, and
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he doesn't scare you with and every screen. He's the
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leader of a solid ghost boogie woogie band, and he
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makes him play on the bean every night when you're
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sleep he starts with the rolling base and the sure
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to put a nightmare in your dreams. When he gets
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them in the groove, they all start to rock the
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place because he makes him play on the bean. No
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one knows who we as anybody could be him. Folks
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who peek take a peek, and they claim they don't
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see him. So if you hear a piano when there's
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nobody playing in it and it's playing boogie like nobody can't,
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when it hits the rhythm and your feet started being it,
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look out, it's a boogie woogie man. There's a tune
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that he plays. It's a tune that he made up.
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And the ghost Union thought that he carries his paid up.
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He's really from another world. Is out of this hemisphere.
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He's been talking about Bot Evans and Charlie chan. If
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it's boogie boogie music, Key's label to a bill, look out,
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it's a boogie woogie man.
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Boogie woogie Man. The Casteloma Orchestra vocal by Peewee Hunt,
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recorded on Brunswick Records in nineteen forty one. Now the
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performances at the Glen Island Casino were being heard nationwide
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on the radio. Its enormous ballroom was said to be
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acoustically ideal for crystal clear radio transmission. So many radio
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remotes over the years emanated from the Glen Island. And
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you know, as an aside, during the Great Depression of
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the nineteen thirties, some of you might not know this,
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but the record industry was in a dire slump. They
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were not selling a huge amount of records. And one
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could understand that because folks really couldn't afford records during
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the depression, let alone of buying a new record player.
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So radio became the major form of entertainment to listen
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to music. You know, it's kind of strange to think
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that record players and records were the number one way
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to listen to music before the depression. You know, there
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were more record players in the United States than radios
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in the early nineteen twenties, and that makes a lot
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of sense, considering radio didn't really start coming into its
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own until the late nineteen twenties. But back to the
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Glen Island and well, back to what I was just saying,
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I'm gonna have to do a segment sometimes on the
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transition from record players to radio. It's actually very interesting.
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But again back to the Glen Island. By nineteen forty seven,
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several established big band orchestras had made appearances at the
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Glen Island, and due to the venue being so famous
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and so many radio remotes, many artists catapulted to fame
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at the casino, among them Glenn Miller, the Dorsey Brothers,
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Benny Goodman, Charlie Barnett, Larry Clinton, who he just heard
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a little while ago, Les Brown, along with Doris Day
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who was his vocalist, Charlie Spevac, Woody Herman, Gene Crooper,
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Hal McIntyre and Claude Thornhill all had extended engagements over
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the years at the Glen Island. Now, after the big
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band era's end, the Glen Island Casino was eventually converted
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to a restaurant in Catering Hall, which even today operates
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as a part of the present day Glen Island Park
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of Westchester. Cothy, So, folks a little about the Glen
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Island Casino and the music of some who played there.
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Right here on the one the only the original make
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believe ballroom broadcasting almost continuously since nineteen thirty five and
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now our next order of business here on the program,
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well you know before that, let me find a piece
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of paper that I was looking for on the well
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trumped everything looking for here on the console several weeks ago.
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I found the paper. Several weeks ago on the show.
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I had mentioned that Leney from down the block, our
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producer Emeritus, had once shown me a stamp that he
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had a really nice looseight case that was issued by
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the post Office and tribute to the Dorsey brothers. And
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I wrote a note to myself to get some more
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history into this stamp and see if it was a
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one offer it was part of a collection, and my
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friends for you, because I dig to find answers to
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such questions, I found doubt that. So from what I
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can surmise, the United States Postal Service released a series
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of stamps that were called the Legends of American Music,
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which debuted on January eighth, nineteen ninety three. Now more
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than seventy artists were included from all styles of music.
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It appears that a King of Rock and Roll, an
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Elvis Presley stamp, was to initially be featured, and I
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guess in better days for the Postal Service when they
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had the time and resources to do such things. The
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public was allowed to vote for a young or old
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Elvis image to grace that postage stamp, and America overwhelmingly
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voted for the younger version of Elvis, and as a result,
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it became the best selling stamp in United States history.
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And to playing on this success, the United States Postal
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Service realized they had a good thing going and they
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developed this whole popular stamp series.
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That's how that was born.
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Now, out of the seventy artists I had just mentioned,
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I counted more than twenty who could be considered part
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of the Big Band era. Some were musicians, some vocalists,
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and some composers. So I obviously am not going to
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play all twenty something, but a nice selection will be played,
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since we have time to do that on today's program.
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Before we get to that segment, folks, two orders of business.
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I don't want to overlook and lose when I checked
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the clock later and see we are out of time,
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which so often happens, and I leave things hanging in
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the air. The first order is to play for you.
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You know, since I started to promote the audio request
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and comment line on MakeBelieve Ballroom podcast, dot com. We
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have gone three for three the last three weeks, Brave
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Souls have clicked on the microphone on the lower right
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hand bottom of the makebullye Ballroom podcast dot com website
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and left comments. And I think that's just great. And
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I'm going to play one in a second, just to
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remind you. When the Make Believe Ballroom concludes its weekly
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run on our affiliated radio stations, goes into podcast form
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for your enjoyment, so you could listen to a few
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years worth of these shows which have been archived. And
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now we go to this week Brave Soul who recorded.
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A message, Hello, Jeff, this is Dandy Kaufman from beautiful Brooklyn.
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We're moving from New York to Florida late next month
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in retirement.
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Can you give us a send off with one of
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your favorite New York songs?
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Thanks a lot, Brooklyn Boogie, celebrity for the people, flat
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Bush Extension, Williams, Bradbridge, Babbittsfield.
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On the Island.
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Where you got that.
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All babble.
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Us?
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Thanks Dedie Kaufman from Brooklyn and soon to be a Floridian.
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And if for you I played Brooklyn Buggie recorded by
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Louis Prima and his orchestra on Majestic Records in June
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of nineteen forty five. Save travels DDY to you and
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the family as you head to your new home in Florida.
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Let me play one more than Lenny from down the
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block with his record pick of the week. And after
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that we're gonna lick some postage stamps I got.
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I guess she's the talk of the time, trying to
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make her.
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But me down.
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But as long as I got my baby, I ain't
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gonna worry lout.
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A soul, not a soul, not a soul, not a soul.
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And as long as my baby loves me, I ain't
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gonna worry about.
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A soul, not a soul, not a soul, not a soul.
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She so sweet, can't be beat, not.
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The kind that whatever cheat those the boys try to
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handle a line.
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Oh lor lost.
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She's mine, all mine, So as long as I make
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her love me, I ain't gonna worry.
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A soul, not a soul, not a soul, a soul.
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Yes, as long as I got my baby, and gonna
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worry about a.
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Soul, not a soul, not a soul, not norry a soul.
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And of long long as my baby loves me.
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I ain't gonna worry about.
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A soul, not a soul, not a soul, not a soul.
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She's so sweet that she.
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Can't be beaten.
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Not the kind that whatever she does though the boys
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all had her alive.
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Love Lord, she's mine, A.
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Love me. I'm gonna worry.
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About as though, not a so, not a so.
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No, I gonna worry.
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Not a living human a r C. A.
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