Dec. 12, 2025
Make Believe Ballroom - 12/12/25 Edition
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On this week's edition of the Make Believe Ballroom hosted by Jeff Bressler, we listen to some music and history from On the Bill Savory Collection. Savory was a radio sound engineer who captured for posterity jazz broadcast radio remotes that networks transmitted live from hotel ballrooms and clubs, a staple of programming in the 30s and 40s. During Savory's era, after most live broadcasts ended, they were rarely saved, primarily due to technical issues, budget constraints, or a lack of understanding of the jazz movement's history. Savory dedicated many years to preserving this musical history.
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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 Belief ballom time and free to everyone. It's
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no time to friend your Dalis said Bombas.
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Close your eyes.
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And visual lize in your solitude.
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Your favorite bands are on this dance and mister Miller,
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what you're in the wood. It's make Believe Ballroom time.
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We are a sweet romance.
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As you make Believe Ballroom. Come on to the last
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dance last.
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Hello, world, I'm Jeff Presler, turning on the lights of
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the Make Believe Ballroom and welcoming you into my Crystal
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studio for another program of classic big band jazz from
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the nineteen thirties and forties. Please get ready as I
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play for you some amazing jazz, swing, blues, and boogie
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woogie favorites. Folks, you're listening to the Make Believe Ballroom,
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broadcasting almost continuously since nineteen thirty five. Welcome, Welcome, Welcome, folks,
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Thanks for joining me in the Crystal studio today. As
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you know, I usually open each program with the song
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or two, but on this edition of the Ballroom, I
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want to open with the an email from the famed
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Pop Baker. Yes, Pop Baker, a friend of the program,
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a retired musician who listens in California, and the one
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and only Pop writes, Jeff, been a while, and it's
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also been some time since you told the history and
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played some of the music from Bill Savory and his collection.
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I look forward to you reintroducing the collection if you
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see fit and that is signed one Pop Baker and
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Pop I'm gonna do you one better. The entire ballroom
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this week and perhaps part of next week's program will
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be devoted to this unique, would have to say, underrated
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and certainly overlooked a collection. The Savory Collection is housed
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in the National Jazz Museum in Harlem in New York City,
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and between records from this collection, what I'm going to
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do is weave the tail of this amazing group of
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recordings and how they came about. So obviously, the first
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and most important question is who Bill Savory was. Well,
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Bill Savory was a young New York audio engineer in
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the nineteen thirties and he just loved jazz. Now, while
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most engineers radio engineers did what they were paid to do,
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Bill Savory stayed after hours at his job on his
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own time, experimenting with sound and recording techniques. So he
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worked inside a professional transcription lab, which, for the uninitiated
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was a studio where large what were they made lacquer
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discs were cut for radio. And these discs were the
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nineteen thirties equivalent of studio tape or digital recording as
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is the case today. Bill Savory realized that the greatest
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jazz in America was being broadcast live every single night,
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and not one second of it was saved. I'm going
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to talk about this in a little while. So his
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resolution was to save this music himself. Let me give
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you an example. Here's Count Basie one o'clock jump, recorded
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at the Carnival of Swing on Randall's Island in New
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York City, May the twenty ninth, nineteen thirty eight.
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Anything up at the same change, expand and stanch a.
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I'm Jeff Wrestler and you're listening to the Make Believe
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Ballroom as we discuss the Bill Savory collection. So I
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had mentioned the transcription lab. Now let me just talk
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to you about what a transcription disc actually was. And
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if you're new to the term transcription disc, here is
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my well, how do we discribe it my elevator version.
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You know a story that you tell in the amount
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of time it takes an elevator to go a few floors. So,
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before tape recorders existed radio U it was big. They
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were sixteen inch lacquered discs and they were spinning at
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thirty three and a third rpm. At the time, these
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were not released to the public. It was just internal
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for transcription. So they looked like the equivalent of a
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giant record, and they held fifteen minutes of sound, and
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that was more than five times longer than a seventy
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eight RPM record, which was the standard recording for commercial
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use that music lovers picked up in music stores and
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the records we play here on the ballroom all M
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and eight from seventy eight recordings. Now, these discs, the
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sixteen inch lacquer discs, were used to record.
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Well.
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They recorded news speeches, commercials, and the the plethora of
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regular radio programs at the time that needed to be distributed.
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Now Bill Bill Savory used that same equipment, but instead
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of cutting ads and commercials and radio programs, he cut
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jazz history. Another example, the late great Fat Swaller with
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his classic Honeysuckle Rose, recorded at the Cafe Society in
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New York City back in nineteen thirty eight.
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Ain't everye honey peer, mister jealousy when to see you
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hunting mad?
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Don't blame on cut that. No honeys of Rover.
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There when you passing my flocks room side and and
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all the reason why.
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Uh but sweet goodness, no honeys.
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Of roads hot one.
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Don't buy sugar. You just have to tax my my
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cofor you my sugar.
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So sweet standing up when them take no sense from
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your limbs. Honey, family, dressful, confection, goodness, nose, honest rolls.
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S, father, father.
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Following them.
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You know, yeah, man, I did it.
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I'm Jeff Bresler. This is the make believe ballroom. And
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let's move on now while we're on the subject of
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transcription discs, to what a transcription lab was, because I'm
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trying to set the stage for exactly how Bill Savory
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obtained the music that he did. Now, a transcription lab
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was simply a recording studio built for cutting these large
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lacquer discs. Think of it like the like a recording
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booth of early radio. So engineers would bring in ads
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or programs then record them onto discs, duplicate them, and
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send them to stations across the country. Savory worked inside
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one of these labs and after hours that gave him
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access to the best recording equipment in New York City
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to record this wonderful jazz Let's Listen to the Amazing
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Chick Web and his Orchestra with Liza, recorded over the
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CBS Radio network back in nineteen thirty eight. Bill Savory,
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he didn't work for a radio station. He worked for
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a transcription studio that had multiple station clients. The two
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biggest were w R in New York. They used this
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lab and WNY W also used this lab, probably the
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most frequently. WNEW eleven three to zero on the dial,
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of course, was the station that this version of The
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Make Believe Ballroom originally came from. Went on the air
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in February of nineteen thirty five and was hosted by
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Martin block So music played a big role in wnew's operation.
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CBS also used the lab, as well as the NBC
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Blue Network. Now Savory was positioned, because of this, at
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the crossroads of the entire New York radio world, where
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he had access to nearly every major broadcast. I'm going
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to continue in just a moment. But now let me
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take a look at the playlist here. I like this one.
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Why don't we go to Paul Whitman and his orchestra
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on the CBS Radio Network in nineteen thirty eight, with
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beautiful vocal by Mildred Valley, trucking.
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Lifting new rhythm round us.
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Harlem is talking.
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Now you know the.
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Truck buck got you, but you never knew who just hih.
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That's what I want to tell you. I've got it
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figured out now if you walk the low down, yes
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on a team about it. We had to have something
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new I d have to do up hearing all of
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doll Someone started trucking. As soon as the news got round.
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The folks downtown.
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Came up the Harlemay.
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Saw everybody trucking.
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It didn't take long before the high Hand do in
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its park avenue in it all the town. You see
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them stuppling, shuffling, chalking along.
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It spread like a board.
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Blades became crazy and thanks to home now everybody rocking.
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Set of SAP.
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We had to have something new they have to do
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up here in Holland. So someone started trucking. As soon
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as the new Dudlund.
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Folks downtown, came up to Halloween, start everybody trucking.
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It didn't take long before the high half for doing
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this Park Avenue and all over town you see them stuffering, shuffling,
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trucking along, get spread like a forest.
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Ray became crazy.
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I thank the hollow Snow everybody's trucking.
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I'm Jeff Bresler, and you're listening to the Make Believe
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Ballroom to reach me Jeff at Make Believe Ballroom Radio
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dot com. That's Jeff at Make Believe Ballroom Radio dot Com.
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And the next question that comes to mind as I
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think this out is how did Bill Savory capture broadcasts
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at studio quality with the understanding that this wasn't a
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remastered records that had all kinds of scratches and imperfection,
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and many many years later, were remastered using the state
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of the art technology at the time. Some of the records,
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some of the excuse me, the cuts that I'm playing
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on this show aren't exactly what you would call in
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today's world studio quality, but they were much better than
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the way broadcasts were recorded off the radio. Because most
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air checks in the nineteen thirties were simply made by
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sticking a microphone next to a radio speaker, and that
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of course produced noise and low fidelity results. Bill Savory
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didn't do that. He recorded directly from the broadcast lines,
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and these were the same signals the stations used to
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send music to listeners. In other words, he was capturing
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the master feed. And now let's listen to one of
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those master feeds you got here. You know, the great
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pianist Teddy Wilson had his own big band just for
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a couple of years.
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So let me play one of his.
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When we play Coconut Grove, recorded on NBC in nineteen
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thirty eight.
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Litthing.
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So, just to take that a point further as to
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why his recordings sounded so good versus a microphone next
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to a radio speaker, it was because Bill used broadcast
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great equipment. He had at his fingertips professional lathes, high
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quality tubes, he had a quiet studio room environment to
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work in, and as I mentioned, he had direct access
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to the network lines coming into his studio. And that's
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why the Savory collection sounds better than almost any other
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nineteen thirties remote off air recordings that we sometimes play
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on this program. And as a a prime example of that,
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let's go to one of my favorite Bill Savory recordings.
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Here's Louis Armstrong on the radio from the Savory collection
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in nineteen thirty eight.
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I can't.
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Really but the definitely.
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Anything then, Anna.
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Super this Jeff Wrestler.
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You're listening to the weekly edition of the Make Believe
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Ballroom So Bad. Savory sat in his studio recording these
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wonderful live remote broadcasts at network quality. But you might ask,
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if he was such a big jazz fan, why didn't
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he ever go into clubs to work on these recordings.
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Many people think that Bill Savory stood at the back
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of say the Savoy Ballroom or the Famous Door with
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a microphone, And of course, as I'm telling you, he didn't.
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The clubs sent their sound over phone lines to NBC
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or CBS, and Savory caught the signal on the receiving
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end in a studio and he found this much more
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accurate than actually trying to uy for some microphone space
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and a loud club. I want to continue now, why
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don't we stay with Louis Armstrong.
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I love Louie.
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In a jam session on the radio that was captured
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by Bill Savory. We have Louis on the trumpet his
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really good friend Jack T. Garden playing the trombone, Bud
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Freeman Tenor Sachs, Fats Waller on the piano, Bob Spergel
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playing the guitar, Pete Peterson on bass, and the George
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Wettling on the drums. I mean, can you imagine on
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December the thirteenth, nineteen thirty eight, turning on your radio
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in your home and hearing this, I've got rhythm.
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Y didn't say anything. I didn't.
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Finish.
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Oh that was like it.
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This is the weekly edition of the Make Believe Ballroom,
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and we're listening to selections from the Bill Savory collection.
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And I've been mentioning here and there the word radio
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remote votes and again for the uninitiated. Radio remotes were
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live broadcasts from ballrooms, clubs, or outdoor events musical events.
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Engineers at the venue mixed the band live and the
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station then transmitted it. So Bill Savory captured the final
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version exactly as the network sent it out.
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And now as I look at the Savory.
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