Aug. 16, 2024

Make Believe Ballroom - 8/16/24 Edition

Show Notes
Transcript

On this week's edition of the MAKE BELIEVE BALLROOM’s weekly big band record party broadcast over member supported Jazz 90.1 WGMC-FM in Rochester, NY, and other fine affiliates across the US as well as in the United Kingdom – early Glenn Miller, a kind of offbeat public service announcement song, a bandleaders famous first name, the Paradise Ballroom, America’s biggest annual birthday party from the 1920s-40s -- All this and more of the greatest hits of the big band era are played for your musical enjoyment.

WEBVTT

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It's make believe ballroom time. Put all your cares away.

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All the bands are here to bring good cheer your way.

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It's make believe ballroom time and free to everyone. It's

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no time to friend your Dalis said Bamba.

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Yours.

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Close your eyes and visualize in your solitude. Your favorite

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bands are on this dance and mister Miller, but you're

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in the mood. It's make believe ballroom time. We are

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of sweet romance as you make believe ballroom.

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Come on, Jim last dance.

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Lets Hi folks, I'm Jeff Presler, turning on the lights

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of the Make Belief Ballroom and welcoming you into my

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crystal studio for another hour of the greatest swing, jazz

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and big band hits of the nineteen thirties and nineteen forties.

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I'm hosting the show to keep the music in traditions

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of past hosts Martin Block, Hal Jarvis, William B. Williams,

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and the legendary Steve Allen alive. Whether you're one of

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my longtime listeners or maybe joining us for the first

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time today, I invite you into the studio for some

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of the greatest jazz and swing hits from the big

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band era. Hello world, and thanks for listening in on

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this broadcast at the Make Believe Ballroom, coming to you

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coast to coast and across the Atlantic Ocean on stations

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like Member Supported Jazz ninety point one WG in Rochester,

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New York, and on other fine affiliates across the US

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as well as in the United Kingdom, Folks. To get

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things underway today, let me select for you from the

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playlist a band leader we have not heard for a

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long time here in the Make Believe Ballroom. Welcome mister

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Charlie Spivac.

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It's art time everybody blamed jo far around the name Blay.

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By Charlie Spivac and his orchestra Hop, Skip and Jump,

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recorded in nineteen forty two. You know, folks, Charlie had

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great longevity in the music industry. He started playing trumpet

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professionally in nineteen twenty four, and he never really stopped

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bandleading and making music until his death in nineteen eighty four.

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Charlie played trumpet for Tommy Dorsey in nineteen thirty eight,

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and his efforts on the horn helped to produce this

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hit that was certainly a hit that keeps on giving.

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Boogie Woogie a best seller for Tommy Dorsey and his Orchestra,

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recorded on Victor Records in nineteen thirty eight, but also

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a top five hit in nineteen forty four and then

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again in nineteen forty five Boogie Woogie Folks and Email

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coming from a listener right after.

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This, and.

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When he came on and plenty Organ Lockout when they

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came on and plenty Igon Lockdown. Now I can play

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the Organs for my wife one night, and ever since

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that time, she just won't treat me right.

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And he came on and play the Organ Lookout.

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When the game RG and played the Organ Lookout when

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the game RG and played the org and Lookout.

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He can playing the lost for he didn't need too much.

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I'd like to see him hide the portant so you

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can couldn't find.

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They came on and played the yarg and Lockout.

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When they came on and played the yarg and Lockout.

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When they came on and played the yarg.

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And Lockout, Dicky plays the August Sweet then he plays

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it low. But the thing that I like that is

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Dicky's tremolo.

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And he came on and played the yard and Lockout.

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And he came on and played the yarg and Lockout.

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When he came on and played the Young and Lockout,

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he give played the biggest ugust that I campas see.

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Ickan one Man.

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On Brunswick Records. You just heard when Icky Morgan plays

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the organ by Clark Randall and his Orchestra, recorded in

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New York City, March the fifteenth, nineteen thirty five. And

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you know a number of interesting historical tidbits associated with

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this novelty tune. First and foremost, it was actually written

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by the great Glenn Miller, who also played the trombone

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on the record. And secondarily, there really was no Clark.

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Randall and his Orchestra was a group of session musicians

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whose recording date was led by saxophonist Gil Rodin. The

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vocal attributed to Clark Randall was an actuality Frank Taneil.

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And if that name sounds familiar, it's because Frank was

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the father of Tony Tanil, the popular vocalist who sang

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solo and as many of us remember, was part with

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her husband of the duo The Captain and Tanil and

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Tony Tanil, if I recall correctly, also starred for a

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while in her own TV talk show You just heard

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when Ikey Morgan plays the organ. A lot of cool

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his behind that song. And where is the one and

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only place in the world where you can still hear

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that record played? Well, of course that's on the one,

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the only, the original Make Believe Ballroom, broadcast almost continuously

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since nineteen thirty five and heard today on public and

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community radio stations across the US and in the United Kingdom.

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I received an email if I can find it on

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the computer here standby. I received an email this past

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week from the Shreibers, were good friends from Sarasota, Florida,

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who are ficionados of big band music and are part

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of the music club at their condo complex in Sarasota,

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and who at times, I have been told, listens to

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The Ballroom via podcast and plays the program during music

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club lunches. So Eddie Schreiber asked me in this email

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if I could play a World War two morale boosting song.

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So for you, my dear Schribers from Sarasota.

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One, Bacon two, get on the show, agreed. Don't run,

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obey your red ward.

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Or stay home.

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Bye, keep out the highway six, don't phone obey your

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red ward.

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There are rules that you should know what to do

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and where to go. When you hear the sirens blown, stop,

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look and listen.

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Seven, don't smoke, Hey, have all the kiddies most able?

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Obey your air red warden.

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H m hmmm, stop.

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Wha what.

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Damn the lights? Wait for information, most abom. Obey your

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air raid warden.

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Stop the panic.

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Don't get enough our aim today the call that blah,

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follow the ruse and no.

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Obey your.

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Ward On Bluebird Records, you just heard Obey your air

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raid Warden Tony Pastor and his Orchestra with vocal by

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Tony recorded in nineteen forty three. Where the uninitiated or

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our younger listeners. And there are many younger listeners being

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introduced to jazz, many playing in their jazz bands in

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high school and college. So for you guys, air raid

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wardens during World War two supervised blackout drills. The wardens

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would cruise up and down neighborhood streets across the United

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States to make sure that no lights escaped houses. And

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I'll explain that in just a second. By early nineteen

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forty three, believe it or not, there are about six

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million volunteers in the United States whose roles were to

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protect the homeland in such capacities as being air raid wardens. Now,

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these blackout drills were planned well in advance and advertised

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on the radio and in movie theaters and newspapers. So

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what happened was street lights were turned off at a

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schedule time, and anyone outside was told by the air

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raid warden to take cover inside. Those folks in their

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homes were instructed to pull down the blinds on their

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windows and keep the light inside to a minimum. Folks

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in cars were told to pull over and find shelter

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in the nearest building. As I just mentioned. So the

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idea was that if enemy planes were attacking, they couldn't

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target what they couldn't see, and that any light visible

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from above could possibly attract bombs and gunfire, so everything

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needed to be blacked out. The federal government sponsored public

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service announcements to promote participation in drills and make sure

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people knew what to do. And among the more unusual

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of these promotions was the Tony Pastor Obey Your Air

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Raid Wardens song, which we just listened to. And we

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listened to that song thanks to the suggestion of Eddie Schreiber,

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who wanted to hear some World War two morale boosting tunes. Eddie,

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I thank you for your request, and I hope I

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played one that you and your wife Mary and our

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wonderful listeners probably never heard. And if you like the

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Schreibers of Sarasota want to hear a particular song, please

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email me at Jeff at Make Believe Ballroom Radio dot com.

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That's Jeff at make Believe Ballroom Radio dot com. Or

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you could actually record a request that will be played

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on the air by going to the microphone in the

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lower right hand corner of w w W dot MakeBelieve

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Ballroom Podcast dot com. That's MakeBelieve Ballroom Podcast dot com.

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And if you're making a request on Make Believe Ballroom

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Radio Podcast. In addition to that, you can listen to

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past programs in the Make Believe Ballroom series and now

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Friends A little Jive courtesy of Martha Tilton.

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It makes no difference what your ailmeny. It may be God,

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it may be rumor tis.

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I know the very very fast cure.

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It beats the dial or rescue.

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When you feed art Dragon and you need he's art

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Dragon and you don't know what to do, a little

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jive is good for you when.

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Your booz are chronic and you need a tonic. They

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your shoes and follow through. A little dive is good

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for you.

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Dead lightly, oh lightly, oh todley.

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In a minute, you be in the movies yourself, relaxing

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that ride redaction.

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Try it out, no matter the little jive is good

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for you.

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Better start to take it slowly until you start to

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feel a glow. Get a grippin, don't let go. In

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a minute, you'll be in the movie yourself. Relax. That's

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the rod reaction. Try it I no matter who, a

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little jib.

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Is good for.

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A little jive is good for you. A Martha Tilton

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vocal recorded in nineteen forty one, and after this next

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record a band leader and clarinetist you probably never heard of,

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but with a very interesting story.

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Like the pounding of a hammer, of the clatter of

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the climber of Manhattan.

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Pan around and got the jitters.

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Get my broker, see get my brokers.

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At Chicago on the wire, Hello, mister McIntire, cop eakle

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was going higher.

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I got the generals.

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You know.

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I bought a penthouse with a view, but I haven't

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had a chance to see the view.

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Brought a shiny Cadillac, but I always take a taxi.

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There in the back.

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Got got.

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You know from the moment that I got up on

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the go without let up wait to bring another set up.

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Got the.

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Got the jitters. Don Redmond and his Orchestra recorded on

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Brunswick Records in nineteen thirty four. And you know, friends,

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I actually have the jitters. I have a friend who

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owns a corporate promotions company and was recently gifted with

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a horsetrough sized coffee cup. My friend Brian frequently asks

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me to test new items he's trying to pawn off

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on innocent corporations. But for my part, instead of being

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reasonable with the amount of coffee I placed in this

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I guess it's about ten or eleven inch wide and

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about ten inch deep cup, I overdid it, and now

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indeed do have a bad case of the jitters. But

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I will stop running in place long enough to say this.

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Many of you enjoy when I play tunes by band

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leaders who never appeared on the Make Believe Ballroom. So

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for you right now, a radio broadcast of a song

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titled Calling All Clarinets with the orchestra led by Opie

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Cats to me cass.

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Firing out of his orchestra playing calling a coronet.

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That the.

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That they want about them.

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From a nineteen forty six broadcast Opie Cats and his

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orchestra with calling all Clarinets. This is the first time

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I ever played anything by Opie Kates and a great

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story behind this band leader. Opie was, as we heard,

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a talented clarinet player and a band leader of the

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thirties and forties who then went on to become a

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popular radio actor. Opie didn't make records, per se or

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appear in ballrooms and clubs. His fame came via the

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amount of time he spent on the radio as a

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musical personality and bandleader on many many shows throughout the years.

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As I mentioned, also later a radio actor, appearing in

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programs such as Lum and Abner well as a popular

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band leader. Opie was heard by millions on the radio

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over the years, and two of his biggest fans were

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Sheldon Leonard, the actor and TV producer, and Andy Griffith.

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So when Andy and Sheldon joined forces to create The

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Andy Griffith Show, which premiered in nineteen sixty, what better

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way to pay tribute to Opie Kates than to name

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Andy Taylor's son Opie. Yes, my friend's Opie Taylor, who

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lived in Maybury, North Carolina, The son of Sheriff Andy Taylor,

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was actually as a character named after bandleader and clarinetist

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Opie Cats, And, as Paul Harvey used to say, now

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you know the rest of the story, or maybe not,

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because by coincidence, Opie Cats led the orchestra for a

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radio comedy called Granby's Green Acres, which in its television

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form many years later was just called green Acres. The

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radio gran Green Acres starred Howard mcneer, who went on

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to become Floyd the Barber on The Andy Griffith Show.

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So now you know the rest of the rest of

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the story.

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Wait, hell on there, Texas?

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What you say I'll every little thing with you today?

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Well, all right, I reckon. I feel pretty bad. I

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just got a letter from my gal down there, down where,

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down there? Where's there? Where's there? My gal's down home

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in Texas. Don't send me that stuff you do?

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All right?

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Why I see you with a different chick every night. No,

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I'm not a bad guy.

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I won't mention any names.

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But what's the story with you and the dans Well, Glenn,

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I guess I do do pretty well. But it's really

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not an awful lot that I could tell. My fall

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was a pretty sharm catnas Day and says he used

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to Gordon More in the old fashioned way.

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Why that old fashioned stuff wouldn't stand a chance in

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the hustle, in the bustle of modern romance, or it.

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Wouldn't huh, oh, well you'll find out. I'll show you

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just what I'm talking about.

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Warm.

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They didn't have no avery planes, they didn't have no

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streamline dreams, but they had lonely country lanes. When Paul

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West Gordon Hall, they didn't have no Redsey bars, Betsy

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drings and cabby yards, but they had lots of moon

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and stars. When Paul West Gordon Mall, they didn't have

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no commentator with the news broadcast that letson is on

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the party line and get their news home most as fast.

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They didn't have no lectric.

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Planes, just my lamps. It's mooning Night's telling all they

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did all right when Paul West Gordon More. Now, all

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you say is drewe, I guess, but there must be

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more to your success. Have you told all Texas?

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No?

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They just one thing. I got on ball. He didn't

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have a saxophone when he courted Mall. It's a funny

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thing about the gaps and they ain't go for a

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guy it can swing and swing Texas. I think you

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got something there, something where, something right there. So go on, startball, OK,

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get going on. I'm going startballing.

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That was when pau was court and mog Glenn Miller

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and his orchestra, saxophone and vocal by text Bennicky and

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recorded on the radio December the thirtieth, nineteenth thirty eight

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from the Paradise Restaurant in New York City and our

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good friend Michael Fusco, the Ballroom ghost Hunter, let me

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know that the former Paradise Restaurant where Miller played radio

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remotes from was actually located in the historic Brill Building

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near Manhattan's Times Square, which is now, as Michael relays

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to me, a CVS Pharmacy. The Brill Building in Manhattan

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during the Big Band era was the world center for

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the music industry, especially music publishing and songwriting. Scores of

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music publishers had their offices in the Brill Building. Once

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songs had been published, the lyricists and the composers sent

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song pluggers to the popular bands and radio stations in

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New York, and these song pluggers would sing and or

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played the song for the band leaders to encourage bands

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to play their music. And once those tunes became popular

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in New York, they certainly spread across the country. I'm

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Jeff Wrestler and you're listening to this week's broadcast of

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the Make Believe Ballroom on affiliates across the US and

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00:38:24.559 --> 00:38:28.800
the UK like members supported Jazz ninety point one WGMC

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00:38:28.960 --> 00:38:32.159
in Rochester, New York. And you can listen, as I

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mentioned before the past programs that are converted after their

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radio broadcast into podcast form by going to www dot

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Make Believe Ballroom Podcast dot com, Make Believe Ballroom Podcast

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dot com, or you can visit your favorite podcast platform,

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00:38:52.440 --> 00:38:56.519
whether that be Appleiheartradio, Spotify, tune in. We're on all

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of them, and to reach me, I'm Jeff at Make

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Leave Ballroom Radio dot com. That's Jeff at Make Believe

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Ballroom Radio dot com and now friends to a band

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leader who changed his style along the way.

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When trouble trouble to sing, Baby Sing do like the

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Birdie Do Sing Baby Sing. When cold with a count

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and they.

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Are all out of drums.

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Poor little birdie stay adjon, but their tweet tweet tweet.

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No, maybe don't know.

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A song a day deep speed old mister gloom away,

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hard luck. Don't like music with that certain swing, So

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swing while you sing, Baby Sing.

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That was Ruby Newman and his orchestra would sing Baby Sing.

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Vocal by Barry McKinley, recorded on Victor Records, August thirty first,

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nineteen thirty six. Ruby Newman had a fair amount of

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success in the thirties, but it wasn't until he became

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a high society band leader that he really found his

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fame and fortune.

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His band.

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Once they converted to a high society band, they entertained

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at all kinds of different events, gala like debutante parties.

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He played for many years at Harvard University class reunions.

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He did all the Kreme de la creme of weddings

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and society balls across the country. Probably most famous, Ruby

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played at all the White House parties during the administration

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of Franklin D. Roosevelt, and he was considered a close

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friend of the Roosevelt family. And he also played at

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all the Roosevelt birthday balls during his administration. An interesting

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fact back in the early nineteen twenties, Franklin Roosevelt hosted

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friends for his birthday each year, while at that same

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time soliciting those party goers into giving him a money

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that went into charity. But beginning in January of nineteen

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thirty four, an idea came about to attempt to elevate

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the amount of money raised by these Roosevelt birthday parties

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by forming a They formed a national effort called the

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President's Birthday Balls. The balls held across the country, arranged

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from simple gatherings and local community centers to extremely elaborate

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affairs at hotels and other event venues and places like

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New York and Washington, and at the White House affair

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the main ball. The music was provided, as mentioned by

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Ruby Newman and his orchestra. Much of the money later

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in the Franklin Roosevelt administration went to the March of Dimes,

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and there was even a song written about these cross

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country events.

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Fans play.

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Let's Last Sway at the President's Birthday Fall. He'll be

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welcoming one a band be bird Day, best time day

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to the President. Emty r from Americans near.

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And far.

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Forward to my happier time.

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Look for words.

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We joined in the crowd.

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March the March of dime Shack your skill, do my father.

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The heavens will soon be prized.

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And we're gonna have one.

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Dune will be rather than Berth at the President's Birthday bar,

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look forward too much happier.

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As we dine in the band March the March of

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dime Jack, He will soon be half.

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Tell me remand tell.

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Me burn that the President's Birthday by.

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The President's Birthday Ball Glenn Miller and the Orchestra with

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vocals by the Modernaiirs and Marion Hutton, recorded on Victor

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Records in nineteen forty two, with music and lyrics by

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Irving Berlin.

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Look you watch you die, and watch you die. You

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got me on the ride on the road.

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What you gonna do?

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Gonna do?

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I'm gonna tell me, and I'll tell me and I'll

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tell me now.

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First you say you do well, then you don't, Then

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you say you will, then then you won't do You're

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out decided.

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