Dec. 19, 2025

Make Believe Ballroom - 12/19/25 Edition

Show Notes
Transcript

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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of fact, the New York Public Library even used it

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as an official Jive language reference book. Now, the dictionary

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contained definitions for words and phrases that were part of

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the Jive of vernacular. Many of these terms, such as well, chick,

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digg it, groovy, cool hip, and hep. They all eventually

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became part of mainstream American English, and the dictionary was

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very popular, So popular that it went through multiple editions

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from its creation in nineteen thirty eight, with the last

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one published in nineteen forty four. And let me ask

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you this what callaway song from nineteen thirty eight is

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an excellent companion to this publication. Well, I can think

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of none better than this one.

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Going to tell you about the jumping Ji Jim Jim jump,

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the jumping.

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Chi cats to beat out the smell of child beat

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it out on the mailer side.

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By Oh boy, what.

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Alamar shan la man swan is shure me dick that

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giant once more? Bob oh boy, Now get you give

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those cats call. Yeah, come on, boys, let's have a ball.

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Dem damn dum dump makes you dig your giant on

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the mellow side.

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Heaven help Heaven, m damn dumplins dollar joy makes you

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nine foot tall when you both foot five he.

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Now, don't you beat that incle the room, get hemp,

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come on and follow do Then you get your studying food.

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You make the joint jump like the gators do them.

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Damn jumping jumping makes you like your eggs on the

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jersey's side. Heaven, Heaven. The Jim jimp. Jumping Jim makes

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you heap on the mail of side.

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He dumble umble your time will make you dig he

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get your time, make you none for callow When you

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don't you be that groom, get.

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Hepp, come on and follow do, then you get just

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you make us jumping gaps due Jim jam jump in chime.

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It makes you.

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Going, going, going, going to data.

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Now I've told you about the jumpin give Jim, Jim

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jump the jump in jib. I know you dug this

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metal give boom on the head of side.

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From Vocalion Records. Hep hep the Jumpin' Jive by Cab

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Callaway and his Orchestra. Vocal by Cab recorded in nineteen

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thirty eight. If you'd like to reach me in the

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Crystal studio Jeff at Make Believe Ballroom Radio dot Com.

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That's Jeff at Make Believe Ballroom Radio dot Com. And

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to hear past shows in the series, go to make

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Believe Ballroom dot Com. That's Make Believe Ballroom dot Com.

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Now back to nineteen thirty eight. As I look at

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the playlist, let me play a record, then a question,

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how much time did vocalists actually get on a recording?

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Back in nineteen thirty eight.

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At sime at SI.

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From Brunswick on the Alamo by the Hudson Delang Orchestra

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under the direction of Will Hudson, recorded in New York

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City April the eighth, nineteen thirty eight. So I opposed

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to you a question before Hudson Delang, which was how

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much time did a vocalist get on an average seven

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the eight rpm big band record back in nineteen thirty eight. Well,

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in that year instrumentals still ruled swing, but the vocals

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had evolved to become well essential accents, but not yet

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the main attraction. It wasn't until I guess you would

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have to say Frank Sinatra, that vocalists slowly but surely

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started to trump some of the orchestras in the early

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forties and well beyond to become the main feature. So

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in nineteen thirty eight, vocals were usually one chorus for

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the most part, they were played in the middle, and

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they were framed by instrumentals before and after. So if

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you look at it in those terms, the singer was

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often treated as as blunt as it may sound another instrument,

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but a special one.

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Now.

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The instrumental portion of a record usually took two thirds

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of the disc, while the vocal that was featured lasted

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thirty to forty five seconds. And of course, as though

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we've done here on the show, many records existed in

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both the instrumental versions and vocal versions done by a

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different bands. So why don't we play a couple of

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vocalists from nineteen thirty eight?

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Met the beat of my home, Meet the reason I

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being so, why I'm happy and seems.

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So delighted, excited and got such.

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A brow on.

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Meet the beat of my low, Meet the time and

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the weather, the dip that holds me together.

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Without him beside me, I never could go on?

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Why do berdie single?

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The day?

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What started spring on its way?

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Oh?

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If you want to love the inspiration, meet the beat

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of my hor Meet the song I'm rehearsal. You're gonna

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meet Hedan and Parson.

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When you need.

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To beat him.

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On Brunswick Records. Meet the Beat of My Heart Jeane

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Krupa and his Orchestra vocal on that one by Irene

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Day re Quarder to New York City, July the eighteenth,

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nineteen thirty eight. Let's now scoot over to the mail side,

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my little Margie.

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I'm always thinking of you, Margie.

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I tell the world I love you.

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Don't forget your war promised to me. I have bought

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if a god house, bringing everything from my horb bubbled Margie.

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You are my ins original day. That's the flue, after all,

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said don men used the only one did did?

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Did? Did?

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Did?

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Did? Oh Mody It's.

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You from Decca Records. Margie by Jimmy Lunceford and his Orchestra,

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vocaled by Trumy Young, arranged by Cy Oliver and recorded

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in New York City, January the sixth, nineteen thirty eight.

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So it appears we have a little time left in

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the program, and I still have a few nineteen thirty

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eight tunes in the bin here in the Crystal studio.

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Let's see, how about another female vocalist, one of the

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most popular in the late nineteen thirties. I am talking

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about Dolly Dawn.

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Cool fall in love, fall in love, says my heart.

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It's romance, take a chance.

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As my heart. But it's time that I almost in

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your arms. This old school teacher brain of mine keeps

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ringing false alarm. Then my head rooms instead, and I'm

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00:50:43.960 --> 00:50:49.400
wi to the scheme of bad gleam in your eye.

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So I kiss that run. But the moment we're apart

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for you.

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Fool that fast as my lot?

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00:51:00.559 --> 00:51:06.559
Fall in love, fall in love, says my It's romance,

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takes the chances my heart. Funny time almost in your

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sas a teacher friend of my hearing and stimon. Then

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my head rooms and said, and I'm why to that scheme? Moly,

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Then your ri.

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Stuck in herat the moment we're alive, are you fool?

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That was love?

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00:51:37.559 --> 00:51:39.079
Says myr.

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00:51:41.599 --> 00:51:46.239
On Vocalion Records, Says My Heart by George Hall and

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00:51:46.320 --> 00:51:51.559
his Orchestra, vocal by Dolly Don recorded April twentieth and

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00:51:51.719 --> 00:51:58.199
nineteen thirty eight. Another one to play for you before

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00:51:58.360 --> 00:52:02.559
we have to go? How about one by Pinky Tomlin,

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00:52:02.639 --> 00:52:05.800
who liked this song so much he recorded it twice.

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00:52:11.840 --> 00:52:13.880
Get Along, Little doggie.

383
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Get long, little dogie.

384
00:52:16.960 --> 00:52:19.719
Get a long, little doggie. Get along, Little doggie, get

385
00:52:19.760 --> 00:52:21.320
a long leaddle dog Get along.

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00:52:21.599 --> 00:52:25.039
He always sings jazzy music to his cattle as he

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00:52:25.199 --> 00:52:27.800
swings back and forth in his saddle on a horse.

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00:52:27.880 --> 00:52:30.559
Pretty good horse at sencapti gata, and the cattle do

389
00:52:30.719 --> 00:52:33.159
the jelly choo, the roura is revolver. How they run

390
00:52:33.679 --> 00:52:36.519
when he shoots his gun, Because there's Western folks all know.

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00:52:37.480 --> 00:52:39.639
He's a half looting rabbit, shooting son of a gun

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00:52:39.679 --> 00:52:43.519
from Oklahoma. He's some cowboy. Talk about your cowboy, ragtime

393
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cowboy Joe.

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Get along, Little doggie, get along, little dog get along,

395
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Little doggie, Get along, Little doggie, get along, Little doggie,

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00:52:54.239 --> 00:52:54.719