OCTOBER 2017 www.APSSinc.org Newsletter VOLUME 39, NUMBER 1 Formerly New York Sheet Music Society By Jerry Osterberg Richard Skipper Celebrates Judy Garland’s Birthday: All Star Cast Judy Garland said: “I was born at the age of twelve on an MGM lot.” In truth, as the youngest and most irrepressible of the Gumm Sisters, Frances Ethel was born on June 10, 1922 in Grand Rapids, Minnesota, a small logging community on the Mississippi. Before she was three years old, Frances joined her older sisters in their singing act, and the child marvel, known as Baby Gumm, performed “Jingle Bells” to an adoring audience which kept her on the stage for seven encores. For the last APSS show of an already extraordinary season, Richard Skipper, with Michael Lavine at the piano, had assembled an exceptional cast of singers to honor Judy Garland on the actual anniversary of her birth 95 years ago. After a breezy rendition of “Zing Went the Strings of My Heart,” Richard promised “If you’re not a Judy Garland fan now, you will be by the time this program ends.” Our resident showman then gave a brief summary of Garland’s accomplishments, especially impressive given her many health issues and shortened career. Richard managed to keep the audience afloat with a sing-a- long “Just in Time” while Ernesto fixed a technical problem which disrupted a fourteen minute reel of clips from every film Garland ever made, from 1929 shorts to her last. Once the projector had completed its task, Richard resumed “Just in Time” without missing a beat. The stage was thus set for the company of performers, clearly gathered with care. Announcing her as “the next generation of APSS,” Richard introduced Amelia Rose Allen, starring in The Secret Garden, who sang “Dinah.” In interviewing the young performer, who’s also a songwriter, he learned that her first memory of Garland was through an aunt who was obsessed with Garland and whose favorite movie was Babes in Arms. Amelia and Michael Lavine, standing in nicely for Mickey Rooney, performed “Good Morning,” one of the many iconic tunes introduced by Garland. During the course of a fast- moving afternoon, Richard shared a good deal of his knowledge of the legendary performer, including the story of how she was worked to death by MGM and fired summarily by new management in 1950. Fortunately for her fans, Garland started a new career on the concert stage, arguably culminating in her greatest ever live performance in 1961. Garland, so energized by the response of the audience, shouted out “I know, I’ll sing ‘em all and we’ll stay all night!” The live recording of the Carnegie Hall concert remained on the Billboard charts for an astounding 73 weeks, 13 of those at the number 1 position. It won a Grammy for the Best Album of the Year, and Garland won a separate Grammy for Best Female Vocalist. Over a 30 year period from 1981 to 2010, she received 7 additional Grammies posthumously, including a Lifetime Achievement Continued on page 3 Amelia Rose Allen Michael Lavine Photos by Maryann Lopinto
Transcript
OCTOBER 2017www.APSSinc.org
Newsletter
VOLUME 39, NUMBER 1 Formerly New York Sheet Music Society
By Jerry Osterberg
Richard Skipper CelebratesJudy Garland’s Birthday: All Star Cast
Judy Garland said: “I wasborn at the age of twelve on anMGM lot.” In truth, as theyoungest and most irrepressibleof the Gumm Sisters, FrancesEthel was born on June 10,1922 in Grand Rapids,Minnesota, a small loggingcommunity on the Mississippi.Before she was three years old,Frances joined her older sistersin their singing act, and thechild marvel, known as BabyGumm, performed “JingleBells” to an adoring audiencewhich kept her on the stage forseven encores.
For the last APSS show of an alreadyextraordinary season, Richard Skipper,with Michael Lavine at the piano, had
assembled an exceptional cast of singersto honor Judy Garland on the actualanniversary of her birth 95 years ago.After a breezy rendition of “Zing Wentthe Strings of My Heart,” Richardpromised “If you’re not a Judy Garland
fan now, you will be by the time thisprogram ends.”
Our resident showman then gave abrief summary of Garland’saccomplishments, especially impressivegiven her many health issues andshortened career. Richard managed tokeep the audience afloat with a sing-a-long “Just in Time” while Ernesto fixed atechnical problem which disrupted afourteen minute reel of clips from everyfilm Garland ever made, from 1929shorts to her last. Once the projector hadcompleted its task, Richard resumed“Just in Time” without missing a beat.The stage was thus set for the companyof performers, clearly gathered with care.
Announcing her as “the nextgeneration of APSS,” Richard introducedAmelia Rose Allen, starring in The SecretGarden, who sang “Dinah.” Ininterviewing the young performer, who’salso a songwriter, he learned that her firstmemory of Garland was through an auntwho was obsessed with Garland andwhose favorite movie was Babes in
Arms. Amelia and MichaelLavine, standing in nicely forMickey Rooney, performed“Good Morning,” one of themany iconic tunes introducedby Garland.
During the course of a fast-moving afternoon, Richardshared a good deal of hisknowledge of the legendaryperformer, including the storyof how she was worked todeath by MGM and firedsummarily by newmanagement in 1950.Fortunately for her fans,
Garland started a new career on theconcert stage, arguably culminating inher greatest ever live performance in1961. Garland, so energized by theresponse of the audience, shouted out “Iknow, I’ll sing ‘em all and we’ll stay allnight!”
The live recording of the CarnegieHall concert remained on the Billboardcharts for an astounding 73 weeks, 13 ofthose at the number 1 position. It won aGrammy for the Best Album of the Year,and Garland won a separate Grammy forBest Female Vocalist. Over a 30 yearperiod from 1981 to 2010, she received 7additional Grammies posthumously,including a Lifetime Achievement
Continued on page 3
Amelia Rose Allen
Michael Lavine
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PAGE 2 AMERICAN POPULAR SONG SOCIETY OCTOBER, 2017
Welcome to the 2017-2018 season of the American Popular Song Society!I can assure you that we have planned many fascinating programs for all of youto enjoy.
Important Information:Please remember that our season runs from October through June, and we always meet on thesecond Saturday of each month, from 1:00-4:00. People frequently ask me what time to cometo Local 802, so here is the schedule:
1) The doors open at 1:00 for our “meet and greet” so you have an opportunity to socializewith each other and browse at our popular Member Exchange, where a table filled with free sheetmusic, CD’s, books, and memorabilia is waiting for you. If you are cleaning out your collections,we would greatly appreciate your bringing some of your own treasures to put out on the table.
2) At 1:30, I will call the meeting to order, welcome you, make announcements, and start theball rolling. We have added something new to the mix, before the official program begins: adelightful Pre-Show musical treat, which will introduce you to some young and excitingperformers who will tell you about themselves, and sing or play a few songs for your pleasure.
3) At 2:00, the Program begins, and will end at 3:00-3:30. That will include a Q & A, leavingthe last half hour (to 4:00) for you to buy books, CD’s, get autographs, takes selfies, and“schmooze” with the entertainers, musicians and lecturers.
Our hard-working Board of Directors (see who they are on the Newsletter masthead) has takena pledge to double our membership this year, and, of course we need your help in achieving thisgoal! We all know that APSS is “the greatest bargain in the city,” so let your friends, family,and colleagues know about our meetings, invite them to join, put information on Facebook,Instagram, and other social media outlets. Membership is only $55 for individuals, and $75 forcouples. This reflects a small increase of $5.00, the first raise we have had in 15 years. Theguest fee for non-members is still $15.
I hope you all had a good summer, and I am looking forward to seeing you on Saturday, October14th, 2017 to celebrate Will Friedwald’s new book, THE GREAT JAZZ & POP VOCALALBUMS. Those with advance copies have been raving about the book. You will be entertainedby many talented and lauded performers: Eric Comstock, Barbara Fasano, Kimberly Hawkey,Eric Yves Garcia, Gabrielle Stravelli, and other surprises. I’m sure that you won’t want to missour fabulous opening Program!
Best wishes,
President’s Message...Linda Amiel Burns, President
Linda
Board Of Directors:Linda Amiel Burns
President
Lynn DiMennaSandi Durell
1st Vice Presidents
Joan AdamsSandy Marrone
2nd Vice Presidents
Glen CharlowTreasurer & Membership
Marilyn LesterCorresponding Secretary
Bill BoggsWill FriedwaldMichael LavineJudy Stewart
Barbara & Ron Sickmen, Linda Amiel Burns & Richard Skipper
Phot
o by
Ros
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illin
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Award, as well as 6 for recordingsinducted into the Hall of Fame, amongthem “Over the Rainbow,” “Dear Mr.Gable (You Made Me Love You”), and“For Me and My Gal,” a duet with GeneKelly. Of course, a complete list ofmemorable tunes, several of whichcharted, would have to include “On theAtchison, Topeka, and the Santa Fe,”“I’m Nobody’s Baby,” and “The TrolleySong,” among many others.
Richard took center stage again,singing “You Made Me Love You” and“For Me and My Gal,” beforeintroducing Leanne Borghesi, recentlyarrived from San Francisco. Leanne toldhow her mother, who worked in a thriftshop, combed through the used albums tofind those of Garland. No doubt, thesongs Leanne performed: “The TrolleySong” and “You Go to My Head,” werediscovered within that vinyl.
Next on the program was the
songwriter John Meyer who came toknow Garland after being introduced toher by a friend. Apparently, Garland tookto John immediately which resulted in aneight week period of intense andproductive work, after which Garlandrecorded four of John’s songs. During thetime they were together, John kept adiary which eventually became the basisfor a memoir Heartbreaker. Richardpersuaded John to join him in “I’d Love
To Hate Myself in the Morning,”undoubtedly the best known in thesongwriter’s catalog. John’s most recentbook, a thriller entitled Operation RubySlipper, is being adapted into a musical,the story line a young Judy Garland, stillbasking in the success of The Wizard ofOz, is smuggled into Germany at theheight of World War II to spy forAmerica. John sat at the piano andintroduced Allison Linker who presentedtwo tunes from the show: “I Feel a SongComin’ On” and an original “From a Girlto a Woman,” performed with Johnwithin the context of a scene.
With Michael Lavine reinstalled atthe keys, Richard introduced his “soulsister,” Sue Matsuki, who sang “LittleDrops of Rain.” Sue described herfavorite Garland moment, during whichshe guested on the Jack Parr Show, anepisode in which Garland told a hilariousyarn about a supposed encounter withMarlene Dietrich. Sue finished with“Everybody Sing.”
Next came Ruby Rakos, who willstar as Garland in a new musical, now indevelopment at the Goodspeed OperaHouse: Chasing Rainbows – The Road toOz. Also in the cast is Karen Mason.Ruby performed a tune from the show’sscore: “Meet the Beat of My Heart,” anda huge Garland hit: “I’m Nobody’sBaby.”
All good things must come to an end,as did Richard’s magical afternoon. Hisfinal guest was Warren Schein, who he
described as the perfect entertainer toinhabit Al Jolson and Mel Torme, both ofwhom had a profound influence onGarland. Warren opened with an accountof a concert which he attended at
Forest Hills Tennis Stadium in NewYork to hear Garland sing. But the rainalso came and rather than disappoint heraudience, she promised that if they waitedfor the rain to end, she would perform.The rain stopped and Garland performedto their delight for three entire hours.Warren offered a song from that evening:“That’s All” and finished with a Jolsonmedley: “Swanee/California, Here ICome/Rock-a-Bye Your Baby/SonnyBoy/April Showers/and Toot Toot
Tootsie.” Our thanks to Richard Skipperfor presenting us with anothermarvelously entertaining afternoon, aperfect closing to a grand season.
OCTOBER, 2017 AMERICAN POPULAR SONG SOCIETY PAGE 3
Judy Garland...Continued from page 1
Leanne BorghesiSue Matsuki
Ruby Rakos
Warren Schein
John Meyer
Richard Skipper
Judy Garland
Allison Linker
All photos in the above story by Maryann Lopinto
PAGE 4 AMERICAN POPULAR SONG SOCIETY OCTOBER, 2017
Bea Wain, Last of the Big Band Singers, Passes
She was a singer and performer for 94 of her 100 years –considered one of the best female vocalists of her time. When shedied this past August 19, she was perhaps the last living link to thebig band era. Beatrice Ruth Wain was born on April 30, 1917, inthe Bronx, to Jewish immigrant parents from Russia. Almost fromthe start she knew what she wanted to do: sing. She began at agesix as a featured performer on the Sunday morning radio show,“The Horn & Hardart Children’s Hour,” making $2 a week. Whenshe graduated from Theodore Roosevelt High School she wasgiven a scholarship by theNational Stage Children’sAssociation to studysinging. But Wain didn’twant anyone to teach herhow to sing, so she rejectedit and took dancing lessonsinstead. Fiercely self-determined and self-taught,she continued to sing onradio and in night clubs.
In 1937 Wain recordedwith Artie Shaw (listed onthe label as Bea Wayne).She also formed a vocalgroup called “Bea and theBachelors,” with Al Rinker,Ken Lane and JohnSmedberg. The quartetperformed on FredWaring’s radio program with the Modernaires, and laterperformed with Kay Thompson, becoming part of Thompson’sRhythm Singers. Wain got her big break in 1938 when the quartetwas singing on “The Kate Smith Hour.” Arranger Larry Clinton,who was in the process of forming his own band, heard Wain singan eight-bar solo and without hesitation signed her to be hisvocalist. (Rinker, Lane and Smedberg continued on as a trio.) Thefirst outing for Clinton’s band was a successful summer run at theGlen Island Casino in New Rochelle, N.Y. Although Clinton’sband never achieved fame on the level of the Dorseys, GlenMiller, Duke Ellington, Artie Shaw or the like, it did achieve hitswith Wain out front. Her recordings of “Deep Purple” and “Heartand Soul,” among others, were chart-toppers. Another feature ofthe band was Clinton’s adaptations of classical compositions intoswing numbers, with lyrics added, One such reworking was a tunerenamed “My Reverie,” based on Claude Debussy’s 1890“Rêverie,” which eventually became Wain’s signature song.
In 1938, Bea Wain married French-born actor and radioannouncer, André Baruch. Later, in early 1939, unhappy with hersmall paycheck and life on the road, she left the band to becomea headliner on the college and theater circuit. During World WarII, while Baruch served overseas, Wain also performed at army
camps and naval bases. She had several hits during this period,including “Kiss the Boys Goodbye,” “My Man Is a Handy Man,”and “God Bless the Child,” and for a short while she ranked inpopularity in fan polls along with Ella Fitzgerald, Helen Forrest,Billie Holiday and Mildred Bailey. Wain had also been the first torecord “Over the Rainbow,” but rights-owner MGM barred therelease of her version until the movie “The Wizard of Oz” openedin August 1939. By mid-September, four versions, includingWain’s and Judy Garland’s, were ranked in the Billboard Top 10.Among her other triumphs during the swing era was her stint as
a regular on “Your HitParade,” a popular radioprogram, where she metand befriended FrankSinatra.
In the post-war era ofthe 1940s and 1950s,Baruch and Wain becamehosts of “Mr. and Mrs.Music,” a daily program onWMCA radio in New York,doubling as disc jockeysand interviewers. In 1973they moved from New Yorkto Palm Beach, Florida,where they hosted a similarradio show, beforeeventually retiring toBeverly Hills, California in1980. Baruch died in 1991,
yet at age 74 Wain continued to sing and perform, and did so wellinto her nineties. Beside a daughter, Bonnie Baruch Barnes, Wainhad a son, Wayne Baruch, a music producer, whose notable creditsinclude producing on the Three Tenors concerts with opera greatsLuciano Pavarotti, Plácido Domingo and José Carreras. Wain notonly attended a master class with Pavarotti but was asked by thedivo to sing. The number she chose was a Pavarotti standard,“Martha,” which Wain had recorded as a swing version. As Wainbegan the number, Pavarotti joined in, and as she reported it, thetwo had a grand time singing and swinging together. At the endof her days, Wain was in an assisted living facility; her long lifewas ended due to congestive heart failure.
Bea Wain was undoubtedly as underrated as her fame wasfleeting. Her time with a big band was short, and her recordingslimited. But her legacy as an emotive and expressive swing singer,with “soul” and tremendous vocal flexibility and range, isnonetheless firmly established, especially with her recordings nowavailable on CD. Beatrice Ruth Wain will be remembered as ashining light of the big band era. An oral history recorded withher in 1994 can be found here:
“I had school training as asoprano. I fell into pop singing becauseof economics; I got out of high schooland had to work, and they weren’thiring opera singers.” - Jo Stafford
What a thing to say! This puts mein mind of an evening in 2007, when anoperatic soprano several “singergenerations” older, asked how I got by.I was feeling good because I wassinging a lot, but she was bothered bythe need for temp jobs to make endsmeet. When she was a girl, you see,unemployed singers sang on the radio -that was the day job - and grumbledabout the necessity.
As envious as I am that singing onthe radio was once a ‘day job’, I relateto the grumbling about necessity. Notlong after that evening, the Recessionof 2008 hit. People and industries werebadly hurt, and those of us earning ourliving from art learned the hard way whatit means to be a luxury. Seeing slashedfees, cancelled seasons and shutteredopera companies, it seemed prudent toacquire a ‘Real Job’. Next, I found musicto coexist with it, and role models for anew repertoire – particularly Jo Stafford.
The world Jo was born into in 1917was constantly and systemicallyfinancially insecure. She was a toddler
during the 1920-21 Depression, when theunemployment rate hung at 12% for 18months and waves of soldiers returnedfrom WWI to a choked workforce. Shewas 12 years old for the Crash of 1929 -the employment rate didn’t recover fromthat event until 1943. Think of it: Jo was24 years old before the unemploymentrate of her lifetime ever once droppedbelow 11%. Compare that to oursituation: The 2008 recession’sunemployment rate topped at 10% in
October 2009, and since my ‘singergeneration’ graduated high school, it’saveraged 5.5%.
Jo, graduating high school amidstthe Great Depression, looked at 1935’sashen landscape, set her operatic dreamsaside, and accepted her sisters’ invitationto join The Stafford Sisters. Theyperformed on LA radio and as backupvocalists on film soundtracks, untilWWII came and pressed everybody,from laborer to professional to artist, intoservice. With her coulda-been operaticinstrument, she had something special tooffer the wartime big-band scene, and intime became “G.I. Jo” - the soldiers’sweetheart and one of the brightest starson Armed Forces Radio.
I like Jo’s voice and, more, hersinging technique; I like her musicalinstincts and the decisions she made as aperformer; I’m impressed by hermanagement of her place in theindustry. But if I must offer a singlereason I chose Jo Stafford for a rolemodel, it’d be for her ability to adapt, tomake the most of her opportunities; hergrit. She was a clear-headed woman whounderstood life and how to find what shewanted. Especially when I consider howreality informed her choices, I likeher.
By Kaye Allyn
Jo Stafford
NICE WORK IF YOU CAN GET IT
PAGE 6 AMERICAN POPULAR SONG SOCIETY OCTOBER, 2017
On September 19, as theMaestro had finished rehearsalwith Dawn Derow for her show‘My Ship’ at the BeechmanTheatre, Barry was standing atthe bar, when suddenly andwithout warning collapsed andfell to the floor from a massiveheart attack. With him wereDawn, Michael Stever (who wasto film the show but wound upfilming his last moments – seefootage), along with press repand friend Richard Skipper andJeff Harnar. Dawn rushed toBarry’s side as manager KennyBell called 911 while Dawn andfriend Sheri Newmanadministered CPR (along with awaitress from the restaurantupstairs) waiting for theparamedics to arrive. Barry wastaken by ambulance to Mt. SinaiWest. He did not regainconsciousness and passed awayon September 21 at the age of 70.
Aside from being the go tofor so many singers, and workingwith the best of the best, he wasalso a past President of MAC, aMAC Award recipient andproducer of MAC Award shows,produced and musically directedthe Laurie Strauss LeukemiaFoundation Annual Concert atCarnegie Hall, gave MasterClasses, was Musical Directorfor Catskills on Broadway(Broadway, 1991),wasorchestrator for Swinging on aStar (Broadway, 1995),conceived and wrote with BrendaLevitt and musically directed therevue Her Song (Off Broadway,2006), he produced, arranged andconducted many performer CD
recordings, wrote many songswith collaborator PeterNapolitano and they were in themidst of writing a new musicaltogether.
He was husband to Brenda,father to Dori and grandpa toThor.
Personally, I can neverforget his kindness and creativemusicianship musical directorand arranger for ShaRellProductions (Sandi Durell &Shari Upbin) beginning in 2004for our revues ,which wecollaborated and createdtogether, that included TimelessDivas, Broadway Live,Hollywood Live. He workedtirelessly with our casts. Theyloved him as much as we did forhis professional, kind and gentlemanner. And we schlepped himfrom booking to booking – toFlorida, New Jersey, Long Islandand Manhattan. He was a joy towork with and a friend.
The stories abound fromsingers to musicians. All whoworked with Barry Levitt havetheir own stories, each one filledwith warmth and tenderness,each one filled with caring andlove.
Barry was an integral part ofso many lives in the cabaretcommunity. Our hearts areheavy.
His lovely wife Brendawrote this extraordinary tribute toBarry:
“I am here in the roomwhere Barry stayed in hisbeloved Theater District, in hisbeloved Manhattan. I’msurrounded by the things that
filled the Maestro’s life. Thereare: a few family photos, hisclothes, his tie collection, hisberets, vitamins from theWesterly, an apple, a bottle ofwater, a collection of booksranging in subject from climatechange to humor. And there ismusic. The room is filled withmusic. Music he wrote. Music hewas writing. Scores.arrangements, lead sheets. Musicfor his beloved musicians to play.Music for his beloved singers tosing. Music stacked on shelves.Music stacked on the floor.Music on CDs. Music on his MacBook. All his beloved music.Soon I will have to remove allthese things to which I amclinging. I will lift my head fromhis pillow and turn back hisblanket, I will have to let themgo. I will take off his shirt,shower with his soap, and drymyself with his towel. I will have
to let it go. I will have to let himgo. He was spirited away to somegreater venue where all thosetaken by The Music eventuallyengage each other in song. Whatremains is love. My love for him.Our love for him. His love formusic. It was his genuineurgency to connect people to thetime of the universe. It was hisjoy every time one of his singersmade a deeper connection to TheMusic. It was his elation everytime he and his fellow musicianshad a deeper conversation in TheMusic. I could shake my fists andrail against The Music for takinghim from me, but he was nevermine. From the first note I heardBarry play it was clear. Hebelonged to The Music. He wasmusic. The human form was justa delivery system which I wasprivileged to assist and cherish.Please share his joy in returningto his source.”
To Brenda, daughter Doriand family: we are shocked at thebig wide hole left by Barry’suntimely departure but as Brendaso beautifully wrote . . . he iswith The Music, always. And hewill remain in our hearts andthoughts, always. Rest in peacedear beloved Barry!
A memorial is being plannedand will be announced.
Editor's Note: This piece originallyappeared in TheaterPizzazz,and is re-printed here withtheir permission.
Barry Levitt, a gentle man, a talented musician, orchestrator,arranger, songwriter, a brilliant professiona, known to
everyone as the MaestroBy Sandi Durell
Linda Amiel Burns, APSS President, is celebrating four decades of The SingingExperience. A number of APSS members have taken this workshop, some morethan once. For those of us who have, we can assure you that you’ll feel like a proby the night of the performance. Although many students have never sung inpublic before, the supportive environment has prepared them well for their debut.Call Linda at 212-315-3500 to sign up. The Singing Experience Cable TV showcontinues on MNN Time Warner: Channel 56 or RCN: Channel 111. Theprogram broadcasts are every Sunday at 5:00 PM. You can also see your fellowNYSMS members on YouTube at any time.
Midday Jazz Midtown continues on Wednesdays (1:00 PM to 2:00 PM) at SaintPeter’s Church (East 54 Street (entrance) @ Lexington Ave), NYC, Hosted byRonny Whyte. Programs: October 4, Bucky Pizzarelli & Ed Laub; October 11,John Eckert’s New York Nine; October 18, Sean Smith – bass, David Hazeltine– piano; October 25, Tony Middleton – singer, Roy Dunlap – piano, Steve Doyle– bass, Daniel Glass – drums. Suggested donation: $10. Parking: Icon Parking,East 51 St, between Third and Lexington Ave. $15 including tax for five hourswith validation @ Saint Peter’s reception desk. www.ronnywhyte.com/www.saintpeters.org/jazz/midtownjazz.htm.
The Singing Experience workshop for Holiday Stars will begin on Thursday,November 9, from 6:30 PM to 9:30 PM at Studio 353. Additional sessions onNovember 16, 30, and December 7. For registration and more informationcontact Linda Amiel Burns at 212-315-3500 or [email protected].
The Singing Experience will present Holiday Stars on Thursday, December 14@ 7:30 PM at the Triad, 158 West 72nd St. There is $15 cover charge plus a 2drink minimum. Call Linda Amiel Burns at 212-315-3500 or write:[email protected].
Dawn Derow continues to perform My Ship – Songs from 1941 at the LaurieBeechman Theater at the West Bank Café, 407 West 42 Street @ Ninth Avenueon Monday, October 9 at 6:00 PM. Additional dates: Saturday, November 4 @2:00 PM and Wednesday, November 29 @ 7:00 PM. $25 cover + $20 minimumper person ($15 for MAC members). Call 212-695-6909 or writewww.westbankcafe.com.
Board member Will Friedwald will present the latest edition of his monthly ClipJoint program at the 92nd Street Y on Monday, October 23 @ 12:00 PM withMarilyn Maye, Harvey Granat and Billy Stritch; Tuesday, October 24 @ 12:00 PM,Ella Fitzgerald Duets; Thursday, October 26 @ 12:00 PM, The Music of RichardWhiting. Tickets from $25. www.92y.org/event/will-friedwald-s-clip-joint.aspx.
APSS member Carol Shedlin’s newest show Serenade in Blue continues at theBrick Room at Don’t Tell Mama, 343 West 46th Street, accompanied by Jon
Delfin, Musical Director, and Boots Maleson on bass. Directed by Linda AmielBurns, continues its acclaimed run on Monday, October 23. $12 cover ($10 forTSE,MAC,APSS,SAG/AFTRA). 2 drink minimum, cash only. Show @ 7:00 PM.Call 212-757-0788.
APSS Board member Tom Toce has recorded a studio version of his successfulMAC Award nominated cabaret show Songwriter in the House at the MetropolitanRoom last year. The recently released CD is different than Tom’s earlier album.It features his singer-songwriter songs and his vocals throughout. Backing Tomare Jon Burr – bass, Sean Harkness – guitar, Justin McEllroy & Peter Millrose –vocals. The CD is available on CD Baby. https://www.cdbaby.com/cd/tomtoce.
Do you seek an elusive song? If you do, write APSS Board member SandyMarrone @ [email protected] or call 856-829-6104. You can also visit Sandyin New Jersey to see thousands and thousands of sheets of music, most of whichcan be yours very reasonably. She is a marvelous resource and a super-greatlady!
Sandi Durell is Publisher-Editor of TheaterPizzazz.com, a vital website thatpresents up to date theater reviews, news, interviews and previews, along withcabaret reviews and videos. There is a large contributing group of writers whooffer discerning and professional reviews and information. Sandi is a DramaDesk and Outer Critics Circle Awards Voter, member of the American TheatreCritics Association, League of Professional Theatre Women, The Lambs, andThe Dutch Treat Club. Visit: www.theaterpizzazz.com.
Dennis Livingston, cabaret songwriter, was honored by the Boston Associationof Cabaret Artists as one of two songwriters (the other was Will McMillan) chosento have his works performed at the BACA Invitation Songwriters PerformanceShowcase on September 25 @ the Amazing Things Art Center in Framingham,MA. In addition to Will, a fine singer as well as composer/lyricist, Dennis’ castincluded Brian De Lorenzo and Jinny Sagorin. Dennis has also begunperforming publicly this year as an improvising jazz flutist with The Alchemists,a Boston based band of professional musicians devoted to collectiveimprovisation. He took the occasion of the BACA showcase to accompanyseveral of his songs on flute, along with pianist Doug Hammer. You may recallthat a stellar revue of Dennis’s songs The Stories in My Mind, appeared at APSSin 2014.
The Mabel Mercer Foundation is delighted to present Sidney Meyer in a liverecording session on Sunday, October 15 @ 1:00 PM and Wednesday, October25 @ 7:00 PM at the Laurie Beechman Theatre in the West Bank Cafe, 407West 42nd Street, NYC. The performance will be directed by Peter Schlosser,with musical direction by Tracy Stark. Also on the program are Tom Hubbard -bass and Rex Benincasa - drums. Tickets: www.beechmantheatre.com or call212-352-3101, $20 Cover, $20 food/drink minimum, MAC Member discount:SIDNEYMAC.
The Mabel Mercer Foundation is hosting the 28th Annual Cabaret Convention,October 16-19 @ the Rose Theater, Jazz at Lincoln Center's Frederick P. RoseHall, Broadway at West 60th Street, NYC. Tickets & information:[email protected] or call 212-980-3026. Tickets @ $25, $50, $100, and$500. All shows begin at 6:00 PM: Monday, October 16 - Grand Opening Night,Tuesday, October 17 - S'Wonderful: The Music of George Gershwin, Wednesday,October 18 - Intimate Nights: The Golden Age of Cabaret, Thursday, October 19- The Music of Carmichael & Whiting. At least 15 performers are scheduled toappear on each night, stars such as Corinna Sowers Adler & Karen Akers to JonWeber and Amra-Faye Wright.
Member News...
Send Member News to [email protected] no later than the 15th of each month for the next issue.
If you have any member news, or other items you would like to haveconsidered for this newsletter, please send it by e-mail to the co-editor, Jerry Osterbergg: [email protected]. It will be subject toediting, depending on size and content, and please remember thatwe try to go to press two weeks before each monthly meeting. Weoften get very good items that get to us after the newsletter has beenprinted and mailed.
OCTOBER, 2017 AMERICAN POPULAR SONG SOCIETY PAGE 7
P.O. Box 5856 • PIKESVILLE, MD 21282
Did you know every issue of this newsletteris in COLOR online at www.APSSinc.org
American PopularSong Society
October 14, 2017Will Friedwald, tied to his book launch
(see above)
November 11, 2017Jerry Osterberg, on Jo Stafford
(see above)
December 9, 2017Harvey Granat, on Sammy Cahn
January 13, 2018Robert Rawlins - Tunes of the
Twenties (with input by Elliott Ames)
February 10, 2018Michael Lavine/Tom Toce-
the contemporary music of DisneyAnimation
March 10, 2018(Cabaret Month) Linda Burns,performance by Sidney Myer
April 14, 2018(Jazz Appreciation Month) MarilynLester, new directions in jazz
May 12, 2018Sandi Durell, Songwriter Showcase
June 9, 2018Richard Skipper, to be determined
Our 2017-18 Season
November 11, 2017: Centennial Tribute to JoStafford who sang with the Stafford Sisters, Johnny Mercer,Tommy Dorsey, The Pied Pipers, Frank Sinatra, PaulWeston, Gordon MacRae, and Frankie Laine. Top songs:“You Belong to Me,” “Make Love to Me,” “HauntedHeart,” “It Could Happen to You,” “No Other Love.”Accompanied by John DiMartino, performers includeKathryn Allyn, Mary Fahl, Margi Gianquinto, andBarbara Rosene.
October 14, 2017: In celebration Will Friedwald'slatest book, THE GREAT JAZZ AND POP VOCALALBUMS, which is being published this month byPantheon Books and which tells the stories of 57 jazz andpop albums that have become benchmarks by whichsubsequent recordings have been measured. Performing:Eric Comstock & Barbara Fasano, Eric Yves Garcia,Kim Hawkey, and Gabrielle Stravelli
