Dec. 19, 2025
Make Believe Ballroom - 12/19/25 Edition
On this week's edition of the Make Believe Ballroom hosted by Jeff Bressler, a listen to some fabulous music from the year 1938, a song Artie Shaw absolutely hated, a big band icon writes a dictionary, and the role the vocalist played in music from the 1930s.
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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.
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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 Dalisa Bobs.
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Close your eyes and vis you lie in your solitude.
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Your favorite bands are on the stands. And mister Miller,
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what you're in the wood? Its make Believe ballom time.
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Be are a sweet romance is to make the leave bottle.
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Come on jo the last dass last.
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Hello world, I'm Jeff Pressler, 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
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one and all into the Crystal Studio, and thanks for
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joining me. I appreciate the response I received the last
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week's program about the legendary Bill Savory, a radio engineer
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who made it his mission in life to record live
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from the studio he worked at in New York City
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all the remote radio jazz and swing programs he could
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in the late thirties through the mid forties. These shows
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broadcast live were never recorded for posterity or replay, and
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Savory remedied that wrong. If you'd like to hear that broadcast,
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go to MakeBelieve Ballroom dot com, make Believe Ballroom dot com,
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or your favorite podcast provider. And once again, thanks for
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the great feedback directed to the Make Believe Ballroom for
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last week's show. So on today's program, I've handpicked for
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you from the record room some fine tunes from the
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year nineteen thirty eight. And to get started, and this
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may sound strange, I want to go back to nineteen
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thirty four. You'll say it makes sense A on Decca Records.
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Don't Be That Way Written and arranged by Edgar Sampson,
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Chick Web and his orchestra, recorded in New York City,
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November nineteenth, nineteen thirty four. Now, the song Don't Be
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That Way was not originally written or conceived as a
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potential hit song, but rather as an instrumental piece and
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arrangement for the CHICKWB Orchestra, as a matter of fact,
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to Edgar Samson at the time was a member of
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the Web Orchestra, So it was composed and arranged by
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Edgar Samson, who introduced the tune to Web and Web
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decided to use it in thirty four. Now the songs
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rise to Fame happened through an organic process to eventually
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become one of the Big Band Eerra's greatest hits. So
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Chick Web recorded the song in thirty four. It landed
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on the charts at a modest number twenty. Now, Benny Goodman,
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who often used Edgar Samson's arrangements, adopted Don't Be That
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Way as his orchestra's opening number for the nineteen thirty
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eight Carnegie Hall concert. That highly successful and landmark event,
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which we've discussed dozens and dozens of times here on
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the Make Believe Ballroom, a landmark event in jazz history,
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and it gave that tune Don't Be That Way immense exposure.
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So a month after the Carnegie Hall concert, Benny Goodman
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recorded the song for Ourca Victor and it instantly became
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a number one hit. So let's play the Goodman version.
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The nineteen thirty eight version, and then a question which
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of the two were Edgar Sampson's favorite?
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The can.
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On Victor Records Don't Be That Way by Benny Goodman
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and his Orchestra, recorded in New York City February the
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sixth sexteenth, nineteen thirty eight, a bona fide number one hit,
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so Webbs version Chick Webbs version ranked twentieth in nineteen
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thirty four, Goodman's went to number one and thirty eight.
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So which one did composer and arranger Edgar Sampson prefer?
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Well?
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When asked, Edgar Sampson himself reportedly noted about his favorite
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version that he preferred Webb's musically, which I think I
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also do, but he loved Goodman's financially, indicating the unexpected
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commercial success of the latter, which translated into dollars into
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Samson's pockets as the arranger. So a diplomatic answer from
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Edgar Samson, and if you you really liked one of
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those two versions, please let me know which one. Jeff
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at Make Believe Ballroom Radio dot com. That's Jeff at
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Make Believe Ballroom Radio dot com. And I am indeed
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Jeff Wrestler, and you're listening to the one, the only,
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the original Make Believe Ballroom. As we delve into songs
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from the year nineteen thirty eight, has.
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Anybody seen billy boy since they fell in love?
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You such as silly boy?
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We ain't seen him high or here? But look you there, reapers, cheapers,
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melagi player. That was some means billy boy?
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Is you? Oh?
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Where have you been, billy boy?
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Billy boy?
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Well, where have you been?
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Chumming?
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Billy I've been up the boat, just visiting my love.
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She's not shunk thing when she cannot leave her mother?
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Did she ask you to tea billy boy?
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Billy boy?
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Did she ask you to tea chumping billy?
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She asked me in to tea? Then she sat rotten
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down on the bone my knee.
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She's a young thing and cannot leave her mother. Can
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she bake her cherry pie in.
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The twinkling oven? Ah?
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Is she bited for your wife as my pocket for
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my night? Did you ask her to win billy boy,
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billy boy? Did you ask her to wear jumping billy?
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Yes?
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I asked her, would she win? And what do you think?
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She said, I'm a young thing, but I will leave
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my mother.
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Just for you.
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Billy boy, just for you, believe for you, just you
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and no mother.
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You've been waiting a long time for the wedding.
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Mesty Chinese is a young thing.
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She will live a mother.
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Not to time, not to tiaa notata up time, Doda
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up time.
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Do you love her, billy boy? Do you love her?
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Billy boy? Yes?
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I love her?
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But not.
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Have you photo everything?
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Where's the license?
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Where's the She's a young thing who's gonna live her mother.
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She's young, She's gonna live her mother.
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We just heard a swinging update of a nineteenth century
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British folk song, and it was released as the flip
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side of the Andrews Sisters hit Hole Tight. This was
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one of four tracks that they recorded with the Jimmy
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Dorsey Orchestra in nineteen thirty eight, and on this one,
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drummer singer Ray McKinley, who would depart Dorsey the following
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year to co lead a new band with Will Bradley,
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was providing the vocal billy Boy. On Decca Records, The
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Andrews Sisters, assisted by Ray McKinley with Jimmy Dorsey and
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his Orchestra, recorded November the twenty first, nineteen thirty eight.
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Let's play another from thirty eight, then a song that
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Artie Shaw literally hated.
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I should hate you, but I guess that I love you.
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Well you've got me right.
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In between the deity Blue Sea.
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I'm banking you, but I just can't.
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Forget you when you've got me right in between the deity.
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Well.
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I love to occupout by this when you come knocking
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on my door, faith seems to give my heart a stress,
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and I come running back for more.
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Zis.
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I don't want you, but I should hate lose you.
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When you've got me right in with me the devalentity
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blue See.
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I should hate you, I guess that I should.
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Not back and where you've gott me right in between
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nother hippilmity flue see. I forgive you, Fabby. I can't
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look at you when you've got me right in between. No, no, no,
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devilmity blue See. And I'm going to market on bunnies
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when you come knocking on my door face bound to
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give heart a dress and I've come crying out mound
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for more, Faby, I don't.
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Want did you leave?
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I want to lose you?
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Via Brunswick Records. Between the Devil and the Deep Blue
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Sea by Eddie Dutchen and his orchestra, vocal by Patricia Norman,
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recorded in Los Angeles, March the twenty first, nineteen thirty eight.
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I'm Jeff Bresler. I am in the Crystal Studio. This
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is the Make Believe Ballroom, and today we are playing
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music from the year nineteen thirty eight. So before Devil
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and the Deep Blue Sea, I said, I wanted to
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talk about a song that Artie Shaw intensely, intensely disliked.
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He recorded it in that year we are concentrating on today,
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nineteen thirty eight. So what was the song? Well, Artie
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Shaw loathed playing Believe it or Not his biggest hit
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begin the beginning, because in his mind it was well,
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it became I don't describe it became an inescapable, repetitive
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hit that only reinforced his true distaste for the commercialism
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and superficiality end of music. It's popularity forced Artie to
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play the song endlessly in ballrooms and clubs. And although
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Artie became very, very famous, he he had many celebrities
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as wives. He had numerous wives. He resented it being
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a celebrity begin to begin made him a massive star,
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but he truly hated the celebrity lifestyle, the constant touring
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and autographs, signing and interaction with his fans that came
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with it. So he grew weary of having to play
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begin to Begin, as he was quoted as one time
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saying five hundred times in a row, for audiences who
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only wanted their favorite hit, not his more complex or
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innovative music, much of which we play here on the
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ball Room. Already was certainly a musical perfectionist and an intellectual,
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not just for music but on a number of subjects,
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and he wanted to explore new sounds, like combining strings
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with his band. But well, he felt trapped by the
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public's demand for simple dance tunes. Well though I still
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like the song.
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Had Pas.
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On Bluebird Records, Begin the Beginning, written by the great
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cole porter HARDI Shaw and his orchestra, recorded in New
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York City, July the twenty fourth, nineteen thirty eight. Thanks
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for joining me today on the Make Believe Ballroom as
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we play a series of great tunes from the year
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nineteen thirty eight.
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Flat Hands, Clap Pants, Still, Daddy Comes Home, Daddy's Got money,
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and Mama have some he's paid today when he gets
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through the ren four russ lantatoy for you, glad pants,
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clap pants Still Daddy comes home, Daddy's got money and
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Mama have some. The butcher Baker bils today an extra
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five for rainy day. Baby wants you want a new jam.
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You can stay up and dinners through.
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We'll play records and shake boy you clap.
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Pants, clap pants till Daddy comes home, Daddy's got money,
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and Marble has some. Every night Mike Curly rock about
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fifty five instead tonight, Swing you off the fifth clap pants,
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glad past Till.
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Daddy Comes Home.
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On Vocalian Records Claphands Claphands Till Daddy Comes Home by
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Al Donahue and His Orchestra vocal by Paula Kelly, recorded
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in New York City, September the ninth, nineteen thirty eight.
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And let's see well, let me play one more?
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Then?
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Did you know?
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Did you know that Cab Calloway wrote a dictionary? Amazing
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but true?
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Happy and Day, the dream of lovers and Sprain, Happy
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and Day, the goal.
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Of Veagar and King.
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What did the white man bide and dive for?
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What did he try for?
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What things today do we all sigh for happy ending,
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the best of wonderful times, always ending, just like a
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nursery rhymes they each.
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Thing you pray for bring you joy and laughter ever rived.
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Happy ending to you all.
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From the Bluebird record label Happy Ending by Ozzie Nelson
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and his orchestra Vocal by Ozzie recorded in Hollywood on
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March fourth, nineteen thirty eight. So the efpervescent and cool
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Cab Callaway did indeed write a dictionary. It was called
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Cab Callaway's Hepster's Dictionary Language of Jive, and it was
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first published in the Year We Are Covering Today nineteen
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thirty eight, and it documented the unique African American jive
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slang used by musicians and entertainers coming out of Harlem.
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The a dictionary was created to help people living outside
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of cities on how to communicate if they ever encountered
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a jazz musician. It was a fun way to share
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in the know language of the Harlem jazz scene with
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a wider audience, but on a serious note, it was
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considered the first dictionary ever published by an African American
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and the first glossary of counterculture terms. As a matter
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