By Marilyn Lester Richard Skipper Celebrates Meredith Willson OCTOBER 2019 www.APSSinc.org VOLUME 41, NUMBER 1 Formerly New York Sheet Music Society Continued on page 3 As has been the case for several years now, Richard Skipper has been producing the last program of the APSS with his usual flair. Skipper has a special knack for putting together stories, songs and superb casts to perform them. This particular show, Richard Skipper Celebrates Meredith Willson, was no exception. What’s more, on this June 15th, the celebratory Skipper’s stars were in alignment with the exact date of Willson’s death––June 15, 1984. A curated group of vocalists, under the music direction of the exceptionally talented Eugene Gwozdz, paid tribute to the composer- songwriter who’s most notably remembered for the musical classic, The Music Man. Although Willson also wrote The Unsinkable Molly Brown, Here’s Love and 1491, none of these had the sticking power of Willson’s tribute to his hometown of Mason City, Iowa. The Music Man debuted on Broadway in December 1957. By the time the now iconic Tony-winning hit played for the last time in April 1961, it had achieved 1,375 performances, was destined for legendary status, and is still going in adaptations and productions around the world. Choosing to forgo the pre-show program of an up-and-coming young vocalist, Skipper instead cast 15-year old Raina Sabella into the regular show as the opener. She’s the daughter of vocalist, educator and editor of Cabaret Hotspot, David Sabella. Raina revealed that her friends think she should become a rap artist, but growing up around standards and Broadway show music–– genres she loves––she prefers not to limit herself. She sang two numbers, the 1939 tune, “All the Things You Are” (Jerome Kern/Oscar Hammerstein II), and 1941’s “At Last” (Harry Warren/Mack Gordon), revealing a lovely voice and pleasing stage presence. Therein followed a cavalcade of stars, who both sang, and guided by Skipper in conversation, revealed their own connections to Willson. Richard Skipper, who auditioned for The Unsinkable Molly Brown as a teenager, and who was cast as the Butler, actually visited the Molly Brown House in Denver. Vocalizing the lyric, “I’m going to stake a claim on dignity,” Skipper was as authentic as they come. Next up was Charles Karel (who was in the First National Company of the original The Music Man), who knew Meredith Willson, having met him in Des Moines, Iowa. Although Karel had dropped out of show business in favor of college, Willson persuaded him to join the cast of The Music Man film. Karel did, got the show biz bug again, and the rest is history. Amidst performing “Rock Island,” Karel spoke of Willson’s tremendous kindness and generosity and his work with high school students and marching bands. For Nathan Robert Pecchia, love of Willson’s music began in childhood. He recently played the leading men in both The Music Man and Here’s Love; and since his resume also lists him as a “funny man,” he performed the entirety of "Pickalittle (Talk-a-Little)," assuming all the voices and astounding all present. On the distaff side, Katie McGrath, who moved to New York in 2016 after a 40-year career in advertising, and who has launched a new career in cabaret, bent gender with aplomb for both ‘Lida Rose” and "The Sadder-But-Wiser Girl." Also a relative newcomer to cabaret, after a hiatus from musical theater, was MAC Award winner Ann Kittredge, who spoke of preparing for her APSS performance. Kittredge was especially entranced by Tammy Grimes’ unique style as Broadway’s original Molly Brown. She sang the number requested of her by Skipper, “My Own Brass Bed,” with her own unique pizzazz. The vocally versatile Kittredge also sang a medley of Willson tunes, Top row: Charles Karel, Linda Amiel Burns , Eugene Gwozdz / Front row: Katie Dunne McGrath, Raina Sabella, Richard Skipper, Nathan Robert Pecchia, Burke Moses.
Transcript
By Marilyn LesterRichard Skipper Celebrates Meredith Willson
OCTOBER 2019www.APSSinc.orgVOLUME 41, NUMBER 1 Formerly New York Sheet Music Society
Continued on page 3
As has been the case for severalyears now, Richard Skipper has beenproducing the last program of the APSSwith his usual flair. Skipper has a specialknack for putting togetherstories, songs and superbcasts to perform them. Thisparticular show, RichardSkipper CelebratesMeredith Willson, was noexception. What’s more, onthis June 15th, thecelebratory Skipper’s starswere in alignment with theexact date of Willson’sdeath––June 15, 1984.
A curated group ofvocalists, under the musicdirection of theexceptionally talentedEugene Gwozdz, paidtribute to the composer-songwriter who’s mostnotably remembered for themusical classic, The Music Man.Although Willson also wrote TheUnsinkable Molly Brown, Here’s Loveand 1491, none of these had the stickingpower of Willson’s tribute to hishometown of Mason City, Iowa. TheMusic Man debuted on Broadway inDecember 1957. By the time the nowiconic Tony-winning hit played for thelast time in April 1961, it had achieved1,375 performances, was destined forlegendary status, and is still going inadaptations and productions around theworld.
Choosing to forgo the pre-showprogram of an up-and-coming youngvocalist, Skipper instead cast 15-year oldRaina Sabella into the regular show asthe opener. She’s the daughter ofvocalist, educator and editor of Cabaret
Hotspot, David Sabella. Raina revealedthat her friends think she should becomea rap artist, but growing up aroundstandards and Broadway show music––genres she loves––she prefers not to limit
herself. She sang two numbers, the 1939tune, “All the Things You Are” (JeromeKern/Oscar Hammerstein II), and 1941’s“At Last” (Harry Warren/Mack Gordon),revealing a lovely voice and pleasingstage presence.
Therein followed a cavalcade ofstars, who both sang, and guided bySkipper in conversation, revealed theirown connections to Willson. RichardSkipper, who auditioned for TheUnsinkable Molly Brown as a teenager,and who was cast as the Butler, actuallyvisited the Molly Brown House inDenver. Vocalizing the lyric, “I’m goingto stake a claim on dignity,” Skipper wasas authentic as they come. Next up wasCharles Karel (who was in the FirstNational Company of the original TheMusic Man), who knew Meredith
Willson, having met him in Des Moines,Iowa. Although Karel had dropped out ofshow business in favor of college,Willson persuaded him to join the cast ofThe Music Man film. Karel did, got the
show biz bug again, andthe rest is history. Amidstperforming “Rock Island,”Karel spoke of Willson’stremendous kindness andgenerosity and his workwith high school studentsand marching bands.
For Nathan RobertPecchia, love of Willson’smusic began in childhood.He recently played theleading men in both TheMusic Man and Here’sLove; and since his resumealso lists him as a “funnyman,” he performed theentirety of "Pickalittle(Talk-a-Little)," assumingall the voices and
astounding all present. On the distaffside, Katie McGrath, who moved to NewYork in 2016 after a 40-year career inadvertising, and who has launched a newcareer in cabaret, bent gender withaplomb for both ‘Lida Rose” and "TheSadder-But-Wiser Girl." Also a relativenewcomer to cabaret, after a hiatus frommusical theater, was MAC Award winnerAnn Kittredge, who spoke of preparingfor her APSS performance. Kittredgewas especially entranced by TammyGrimes’ unique style as Broadway’soriginal Molly Brown. She sang thenumber requested of her by Skipper, “MyOwn Brass Bed,” with her own uniquepizzazz. The vocally versatile Kittredgealso sang a medley of Willson tunes,
Top row: Charles Karel, Linda Amiel Burns , Eugene Gwozdz / Front row: Katie DunneMcGrath, Raina Sabella, Richard Skipper, Nathan Robert Pecchia, Burke Moses.
President:Linda Amiel Burns
Vice Presidents:Joan AdamsSandi Durell
Treasurer & Membership:Glen Charlow
Secretary:Marilyn Lester
Board Of Directors:Elliott AmesBill Boggs
Will FriedwaldMichael LavineSandy MarroneJerry OsterbergAndrew PoretzJudy StewartTom ToceMark William
Membership Mailing Address:American Popular Song Society
P.O. Box 5856Pikesville, MD 21282
Why is that the mailing address?Because the treasurer lives
PAGE 2 AMERICAN POPULAR SONG SOCIETY OCTOBER, 2019
Hello Members, Friends, and Fans:
Welcome to the 2019-2020 season of the American Popular Song Society! As most of youknow, we were not able to continue renting The Musician’s Hall at Local 802 as their newPresident has closed the space on weekends. After an exhaustive search of rehearsal spaces,church basements, concert halls, etc. etc. Sandi Durell and I almost gave up hope of being ableto continue our monthly gatherings and the Society. Well, the good news is that we have a lovelynew home - The Green Room 42 at The Yotel on 42nd Street. There is a large stage, a grandpiano, good sound system, and since it is in a lively hotel facility, there are elevators, lounges,restaurants, and a variety of food kiosks for you to take advantage of on the same floor. The onesignificant change is that we have had to move the time of our meetings by two hours toaccommodate their schedule.
Starting this October, our meetings will run from 11:00AM - 2:00PM. So, please do comeat 11:00 to get your seats, visit, and browse the Member Exchange Table. We will open at 11:30with my welcome and announcements. The Pre-show starts at 11:45, introducing you to new,young singers, and the Main Program runs from Noon - 1:30PM. The last half hour is forschmoozing, book signings, taking photos, purchasing CDs, and saying goodbye until the nextmonth.
As of now, we are not raising the membership dues, but we hope to do some serious fundraising in the future. In order to bring you top quality programs and continue APSS, we mayneed to increase the dues a bit to meet ongoing additional expenses. You are also welcome tojoin or rejoin our society at the Angel/Benefactor level, which will help us keep going.
In this issue, you can read the lead article about Richard Skipper’s terrific June Program onMeredith Willson, a tribute to the late Music Director and good friend, Tex Arnold, and a reprintof a wonderful write-up by Alix Cohen in Woman Around Town, on me, and my many years incabaret and as President of APSS.
I hope you all had a good summer. I am looking forward to seeing you on October 12th forthe Tribute to The Boswell Sisters starring the Martucci Swing Band, which is being producedby our NewsletterEditor, Jerry Osterberg.
Best wishes,
President’s Message...Linda Amiel Burns, President
Linda
American PopularSong Society
NEW MEETING LOCATION:
N E W S L E T T E REditor/Publisher: Jerry Osterberg
Come early to look thru Sheet Music & CD’s & stuff, all FREE.
Liz Burns (Linda’s daughter), Richard Skipper and Linda Amiel Burns
OCTOBER, 2019 AMERICAN POPULAR SONG SOCIETY PAGE 3
Meredith Willson...Continued from page 1
which included a beautiful rendition of“Goodnight, My Someone” and “TillThere Was You,” which became a duet
with Burke Moses.Moses was not only the finale of
Richard Skipper Celebrates MeredithWillson but also a true showstopper.Possessed of a deeply resonant baritone,Moses exudes stage presence. He’s aveteran of opera and musical theater,having played leads in classics such asThe Most Happy Fella for New York CityOpera, the 1992 Broadway revival ofGuys and Dolls and in Broadway’srevival of Kiss Me Kate, among manyothers. He’s also no stranger to the workof Meredith Willson, having playedHarold Hill at Washington DC’s Arenastage, opposite Kate Baldwin. Aftersharing what it’s like to play Hill, the
dashing Moses executed “(Ya Got)Trouble” with an excitement andcommand that had audience membersspontaneously forming a chorus oftownspeople chanting “trouble.”
APSS celebrates Richard Skipper fora wonderful tribute to American flautist,composer, arranger, conductor,bandleader and author, Meredith Willson.And if that was not reason enough tocelebrate this accomplished individual,Willson, in addition to his four Broadwaymusicals, also wrote popular songs andcomposed symphonies and film scores,two of which were nominated forAcademy Awards. Bravo to Willson andto Richard Skipper.Richard Skipper interviews Ann Kittridge.
The music and cabaret communities havelost one of their own. Pianist, arranger, musicdirector, and composer Hubert “Tex” Arnold, 74,passed away on August 22, 2019, due tocomplications from a sudden massive stroke.His death is a great loss to a far-reachingcommunity of friends, family, and colleagueswith whom he worked over many decades in thebusiness.
Tex was a multi-talented musician with tiesto radio, television, theater, records, majorsymphony orchestras, marching bands and, ofcourse, cabaret, where he worked with a host ofperformers over many years. Notably, he was themusic director and accompanist for thelegendary Margaret Whiting, working with herfor over 25 years.
Tex was born on March 2, 1945 and raised in Temple, Texas.He attended Michigan State University, from which he earnedundergraduate and master’s degrees in Music Composition. Hebegan his professional career as an arranger for the United StatesMilitary Academy Band at West Point, NY. He moved to New YorkCity following that association, establishing a successful, wide-ranging career. Over the years he not only worked with Whiting,but such luminaries as Barbara Cook, Rosemary Clooney, MelissaErrico, Michael Feinstein, Carol Woods, Portia Nelson, LaurelMassé, Maud Hixson, and many more. In recent years he wasmusic director for Judi Mark, Jeff Macauley, Sally Mayes, CeliaBerk, and others. He has also been the music director for all sixeditions of composer Larry Kerchner’s Hidden Treasures, a varietyprogram featuring his long-time friend’s varied works.
With Kerchner, Tex composed “Sinatra.” He also co-composed
and arranged “A Day Away from Town,” a trunksong given to him by Debbi Bush Whiting,daughter of Margaret Whiting and granddaughterof composer Richard Whiting. Among his othercompositions are works in classical, Latin, andjazz idioms that were commissioned, published,and recorded by organizations including the LosAngeles Philharmonic, the Dallas Symphony,and the New York Saxophone Quartet. He was amember of Local 802 of the AmericanFederation of Musicians and ASCAP; he was amultiple winner of the annual ASCAPlus Awardfor composition. Additionally, Tex has writtenorchestrations for the Lincoln Center AmericanSongbook series and for Carnegie Hall tributesto the songwriting teams of Alan and MarilynBergman, and Betty Comden and Adolph Green,
among other such assignments.Tex was also a sought-after participant in music industry
events, conferences, and competitions. For the last half dozen yearsand more he was a mentor and accompanist for the Great AmericanSongbook Foundation’s annual Songbook Academy event forteens. He was an instructor for the annual Cabaret Symposium atthe Eugene O’Neill Theater Center for many years. He continuedin that capacity for its successor program, the Cabaret Conferenceat Yale University.
Tex is survived by his wife, Linda, and beloved cat, Waldo.Hubert “Tex” Arnold will be greatly missed. Our sincere
condolences are extended to his family and friends and the manyin the music business and cabaret community who will mourn hispassing.
Reprinted with permission from Cabaret Scenes magazine.
By Marilyn Lester Hubert “Tex” Arnold
PAGE 4 AMERICAN POPULAR SONG SOCIETY OCTOBER, 2019
To say she has a song in her heartvastly minimizes Linda Amiel Burns’occupation with/ devotion to populartunes and songwriters. It seems, infact, to have ruled her life. (RichardRodgers/Lorenz Hart “With a Song inMy Heart”) Dual influences fosteredher predilection.
The first was performing in such asHorn & Hardart Children’s HourandThe Bonnie Maid Hour till the ageof 12, followed by high school andcollege theater as well as furtherstudies. The second was theinfluence of adored father Jack Amielwho owned two restaurants in The
Brill Building, so famous for housing music publishers and studios, it was considered an incubator for hits.
The Turf Restaurant, frequented by entertainers and songwriters,featured a “Songwriters Corner” papered with sheet music. “My fatherwould say to me, ‘Sammy Cahn, what did he write?’ (“Three Coins in theFountain,” “Call Me Irresponsible”) or point out Edgar Leslie (“Among MySouvenirs,” “For Me and My Gal”). I got to learn who wrote what and tosee a lot of Broadway.”
Though Amiel Burns briefly sang, plans for a career in entertainment tooka backseat to marriage, running her husband’s medical practice, then lifeas a single mother. The divorcee turned her attention to a full time job inpublic relations. A few years later, circling back to performing, shediscovered she was drawn toguiding others. “What I most
enjoyed was putting the shows together, creating a theaterpiece in song with a beginning, a middle and an end.”
Her own past anxieties inspired the divorcee to found theSinging Experience “to help people counter their fears, learningto sing with joy and confidence…I called a few friends, rented apiano and got sheet music from my father’s house.” (Studiospace was subsequently hired.) There are, she tells me, 5,000graduates to date.
For a while, Amiel Burns also ran restaurants, two of which were
Young Linda Amiel; Linda and herfather, Jack Amiel.
Members of The Board of Directors with Guest Sidney Myer: First Row- Will Friedwald,Joan Adams, Sidney Myer, Sandi Durell, Marilyn Lester, Elliott Ames.
Second Row – President, Linda Amiel Burns – Glen Charlow, Tom Toce, Judy Stewart
The Danny Bacher Trio performing at a meeting.Jason Treberok-piano, Dean Johnson-bass,
Danny Bacher at the microphone.
Linda Amiel Burns / AmericanPopular Song SocietyPosted on August 29, 2019 by Alix Cohen in Woman Around Town
decorated with memorabilia from TheSongwriter’s Hall of Fame (still hoping for apermanent museum). She could give lessons inmulti-tasking.
In search of sheet music for The Symphony Café,she heard about The New York Sheet MusicSociety. Established in 1980 by a group ofdedicated collectors, it met once a month to swapmusic and stories. Amiel Burns began to attendgatherings. “I thought, these are my people.”There was a formal speaker, entertainment, anda table with books and music. In the early 1990s,she was asked to be their first vice president. “Imade it more show bizzy and less collectionoriented.” By 1998, she’d assumed thepresidency.
About seven years ago, the organizationchanged its name to the more indicative American Popular Song Society “songs of the past, present, andfuture.” There are nine programs a year, the second Saturday each month from October. These feature anauthor presenting their relevant book, a lecture on an entertainer, intriguing panels, and/or actualperformance, including Sandi Durell’s annual Songwriter’s Showcase. Other board members will beresponsible for helming upcoming events.
Membership is a ridiculously low $60 a year and includes an online newsletter currently edited by JerryOsterberg. As a 501C4, membership is tax deductible. Guests and the public are welcome to events for $15.For less than a movie, like minded people can attend a live performance.The first meeting at the Society’snew home in The Green Room42-Yotel (570 10th Ave 4th fl) willbe on October 12. Its subject:
THE INCREDIBLE BOSWELLSISTERS A Rousing Tribute to Those Amazing Close Harmony Gals and Musical Pioneers — Katie Martucci& Her Swing Band celebrate the incredible Boswell Sisters — those three hip chicks from New Orleans whorevolutionized singing with their rhythmic experimentation in harmony. The innovations of Martha, Connee,and Helvetia Boswell were a major influence on such vocalists as Ella Fitzgerald and the Andrew Sisters.
DOORS OPEN AT 11 a.m.At 11:30 a.m., the Meeting is called to order by our president. Then at 11:45 a.m., the Pre-Show, and at 12p.m., the program begins.
Coming Up: November 16, 2019 (Third Saturday) Ukelele Festival produced by Andrew PoretzDecember 14, 2019 A Broadway Christmas produced by Mark William and Sandi Durell
All photos courtesy of American Popular Song Society.
Left: Author Amy Asch “The Complete Lyrics of Alan Jay Lerner”Mark Nadler, KT Sullivan, Linda Amiel Burns.
Right: Jerry Osterberg, Linda Amiel Burns and Debbi Whitingholding a Society Newsletter
Reprinted with permission fromAlix Cohen.
PAGE 6 AMERICAN POPULAR SONG SOCIETY OCTOBER, 2019
By Jerry Osterberg
The Music Goes Round and Round: The Boswell SistersHeebie Jeebies, A
Boswells Life in Song, arrivedat the WestSide Arts Theater inthe early Summer of 1981.Directed by Stuart Ross, whowould later go on to stageForever Plaid, a hugelysuccessful Off- Broadwaymusical, it arrived during arevival of The Boswell Sisters,a trio of exceptionally giftedperformers who pioneered anddefined close harmony jazzsinging in the first half of the1930s.
The title of the showHebbie Jeebies, was based ona song of the same name,originally made popular byLouis Armstrong. TheBoswells’ came to think of itas their “good luck song.”
Although the script ofHebbie Jeebies was panned,reviewers loved the music andthe singers. Fortuitously, theproduction was guided byHelvetia (aka Vet), the solesurvivor of the Boswells, andthe audience loved it. The NewYork Times wrote “Thefocus…and its strength, is onthe Boswells’ style of singingand the arrangements…thatwas filled with dramaticchanges in key and tempo,breaks, scat singing deliveredin a Boswellian variant of pigLatin, smoky-voiced solos,sudden surges of instrumentaljazz and a very distinctiveharmonic blend, all projectedwith split-second precision…”
American jazz writerGeorge Simon, describing aconversation with ConneeBoswell, who usually receivedcredit for the arrangements,wrote “We didn’t singeverything straight, the wayother groups did. After the first
chorus, we’d start singing thetune a little different. Youknow, with a beat, the wayjazz musicians would.”
Connee and sisters Vetand Martha grew up in NewOrleans, surrounded by theunique gospel, jazz and bluessounds of their area, notablyAfrican – American music,which came from the localstreets and saloons. Comingfrom a musical family, theyreceived training early on,studying classical piano, celloand violin. The Boswell homewas always filled with music.Their mother Meldaniaencouraged musicians andpeople with musicalbackgrounds to visit the houseto play and exchange ideas.Among the many whoaccepted the invitation, severalof whom went on to fame,were Louis Prima and hisbrother Leon, both trumpetplayers. Emmett Hardy, whobegan playing cornet inprofessional groups at agefourteen, visited regularly. Hewas thought to be the BoswellSisters’ most importantinfluence and mentor aftertheir brother Clyde.
Meldania had a musicalplan for all her children, whichincluded performing classicalrepertoire in local recital halls,in addition to a constantlistening curriculum of New
Orleans bluesand jazz, andthe playing ofthe many jazzmusicians whof r e q u e n t e dtheir livingroom on CampStreet. Thesisters came to
be well known in NewOrleans while still in theirearly teens, makingappearances in local theatersand on the emerging mediumof radio. By the early 1920sthey were performingregularly in vaudeville, withan act that combined classical,semi-classical, and jazz styles,but as their popularityincreased, the classics fadedinto the background.
Having heard a liveperformance of the famedblues singer Mamie Smith inan outing with Meldania,Connee was taken by Smith’s“Crazy Blues,” and wouldimitate her style on theBoswells’ first recording. Thesong, “I’m Gonna Cry (Cryin’Blues), written by her sisterMartha, and recorded in 1925for the Victor Talking MachineCompany, quickly sold out inrecord stores across the South.In all, the girls recorded fivesongs in two recordingsessions, both words andmusic by Martha, except forone.
In a later recordingsession with the DorseyBrothers in New York for thefirst time, the largely unknownBoswells got a standingovation from the entire bandafter their run-through of“When I Take My Sugar toTea.” The musicians, which
included Joe Venuti, EddieLang, Manny Klein andBunny Berigan, had beenskeptical, expecting thesession to be routine. TheBoswell’s recorded at leastthree records with the DorseyBand in 1931 and 1932, two ofwhich made the top ten. Theyrecorded over 120 sides duringthe 1930s, including the #1“The Object of My Affection,”recorded with the JimmieGrier Orchestra. In all, 20 oftheir recordings charted, mostof them in the top ten, such as“When I Take My Sugar toTea,” “I Found a MillionDollar Baby,” and “I’m GonnaSit Right Down and WriteMyself a Letter.”
The Boswell Sisters leftNew Orleans in 1928, and forthe next eight years coveredmuch of the country, initiallyin Chicago, before embarkingon a vaudeville tour throughOklahoma, Arkansas, andTexas, before settling down inLos Angeles for a time, wherethey made several radioappearances. This exposureprovided enough nationalrecognition to pave the path toNew York City. They arrivedon the radio scene at exactlythe right time. The Boswellswere among radio’s earlieststars, making them one of thefirst hit acts of the mass-entertainment age.
They appeared on bothNBC and CBS radio wherethey appeared thirteen timeson the Bing Crosby program.Will Friedwald wrote: “…thebig radio audience couldn’t getenough of them. They were byfar the most popular femalegroup of the Depression era –
Continued on page 8
OCTOBER, 2019 AMERICAN POPULAR SONG SOCIETY PAGE 7
Linda Amiel Burns, APSS President, is celebrating four decades of TheSinging Experience. Several APSS members have taken this workshop, somemore than once. For those of us who have, we can assure you that you’ll feellike a pro by the night of the performance. Although many students havenever sung in public before, the supportive environment has prepared themwell for their debut. Call Linda at 212-315-3500 to sign up. The SingingExperience Cable TV show continues on MNN Time Warner: Channel 56 orRCN: Channel 111. The program broadcasts are every Sunday at 5:00 PM.You can also see your fellow NYSMS members on YouTube at any time.
The Singing Experience will be presenting its last workshop of the season,Holiday Wishes, beginning November 6. Performance scheduled forDecember 11. Contact Linda for additional information at 212-315-3500 [email protected].
Midday Jazz Midtown continues Wednesdays (1:00 PM to 2:00 PM) at SaintPeter’s Church (East 54 Street (entrance) @ Lexington Ave), NYC, Hostedby Ronny Whyte. October 2, October 9, October 16, October 23, October 30.Programs to be announced. Suggested donation: $10. Parking: IconParking, East 51 St, between Third and Lexington Ave. $15 including tax forfive hours with validation@Saint Peter’s Reception Desk.www.ronnywhyte.com www.saintpeters.org/jazz/midtownjazz.htm.
Bistro Award & MAC Hanson Award Winner Lucille Carr-Kaffashan will bepresenting her latest show How The Light Gets In on Thursday, October 17@ 7:00 PM and Sunday, October 27 @ 3:30 PM at Don’t Tell Mama, 343West 46th Street, $20 cover charge, plus 2 drink minimum, cash only. Call212-757-0788 or write donttellmamanyc.com for reservations.
Richard Skipper will be producing and moderating an event for Dancers Over40 on October 16th at St. Luke’s Church Theatre, located on West 46th Street– Restaurant Row, to celebrate the Centennial of Marge Champion. Guestswill include John Anthony Gilvey (Before the Parade Passes By: GowerChampion and the Glorious American Musical), Greg Vander Veer, LarryFuller, Mindy Aloff (Hippo in a Tuto: Dancing in Disney Animation), DannyOsman, Norton Owen (Director of Preservation at Jacob’s Pillow DanceFestival), and Rex Reed. Save the Date…additional details to follow. Inaddition, the 50th Anniversary of Joseph and the Amazing TechnicolorDreamcoat, later in the evening.
Congratulations to this year’s MAC Award winners Anita Gillette, BobbieHorowitz, Bob Levy, Marissa Mulder, Jeff Macauley, and Sidney Meyer.
Member News...
Send Member News to Osterbergg@aol .com no la ter 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 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 beenfinalized and made available to the membership.
Michael Colby and Paul Katz will be presenting a concert for the benefit of theInternational Rescue Committee, Slay It With Music, on Saturday, November2nd at 7:00 PM @ The Green Room 42, 570 Tenth Avenue at West 42ndStreet at the YOTEL. Director: Charles Repole, Musical Director: Phil Reno,Starring, subject to availability, Sharon McNight, Tom Wopat, Marianne Tatum,Eddie Korbich, Janet Metz, Caroline Conceison, and Host Narrator, EricMichael Gillett.
Steve Ross reports that the classic radio interview show New York CabaretNights, which was broadcast on WNYC, can be accessed anew by going tohttps://www.wnyc.org/series/new-york-cabaret-nights.
Board member Marilyn Lester is now the Executive Director of the newnonprofit American Songbook Association (an outgrowth of the CabaretScenes foundation). The mission is publishing the magazine, bringing themusic into the schools and providing quality, low-cost performances to seniorcitizens, students and all who love songbook music. Please check outwww.americansongbookassociation.org
Do you seek an elusive song? If you do, write APSS Board member SandyMarrone @ [email protected] or call 856-829-6104. You can also visitSandy in New Jersey to see thousands and thousands of sheets of music,most of which can be yours very reasonably. She is a marvelous resourceand a super-great lady! Having heard from only a few of our members overthe past year or so, Sandy wants to remind you that she’s still at it, adding toher collection every day, and always willing to part with sheet music atespecially fair prices for us. Sheet music was the reason we were foundedthirty plus years ago, after all, and she’s only a phone call or e-mail away.Sandy continues to be willing to offer free appraisals with no expectation ofhaving right of first refusal and can provide unbiased advice as to how andwhere to sell music. It’s not a secret, pass it on please.
In November 2009, to celebrate the centennial of songwriter/singer JohnnyMercer, Minneapolis radio personalities David Cummings and Les Blockproduced and broadcast a 100th birthday tribute to Mr. Mercer. The showfeatures original interviews with a distinguished roster of Mercer-connectedperformers and writers, showcasing recordings of Mercer songs sung by theguests and presenting valuable comments on the songs and on the man.Among the more than twenty celebrities interviewed were Tony Bennett,Johnny Mathis, Andy Williams, Kay Starr, Nancy Wilson, Robert Kimball,Barry Manilow and Margaret Whiting. Sadly, our interview with Miss Whitingwas her last. The show is being archived by the Library of Congress whichacknowledged that “…it would be impossible to produce a work of this qualityon Johnny Mercer today.” The entire show can be heard online at the followingURL/web address: https://archive.org/details/mercer100/ksav-mercer-1.mp3OR <johnnymercer100:davidcummingsandlesblock>
Sandi Durell is Publisher-Editor of TheaterPizzazz.com, a vital website thatpresents up to date theater reviews, news, interviews and previews, alongwith cabaret reviews and videos. There is a large contributing group of writerswho offer discerning and professional reviews and information. Sandi is aDrama Desk and Outer Critics Circle Awards Voter, member of the AmericanTheatre Critics Association, League of Professional Theatre Women, TheLambs, and The Dutch Treat Club. Visit: www.theaterpizzazz.com.
Oct. 12 -Tribute to Boswell Sisters - Jerry O.
Nov. 16 -Ukelele Festival - Andrew P.
Dec. 14 -Broadway Christmas - Mark W. & Sandi D.
Jan. 11 -Gary Giddens on Bing Crosby - Will F.
Feb. 8 -From Conway to Broadway
with Richard Skipper - Linda B.Mar 14 -
James Gavin On Peggy Lee’s Centennial - ??Apr 11 -
Jazz Month - Marilyn L.May 9 -
Songwriter Series - Sandi D.Jun 13 -
Nat King Cole - Will Friedwald's New Book!
P.O. Box 5856 • PIKESVILLE, MD 21282
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American PopularSong Society
2019 - 20 Season
<--3rd SATURDAY
Round & Round: Boswell...Continued from page 6
in fact, the only one to beremembered by subsequentgenerations.” In the early partof 1932, the Boswells werealso doing stage shows, mostnotably a four-week stint atthe two Paramount theaters,one in Times Square, and theother in Brooklyn. Otherentertainers on the bill wereBurns & Allen. RussColumbo and Bing Crosby.As headliners themselves, theBoswells were being paid$3,000 per week, equivalentto $50,000 today.
The Boswells were part ofthe first American popularmusic broadcast to Europe.When musicians such asLouis Armstrong and DukeEllington made the leap toEurope in 1933, the BoswellSisters were there in the firstwave, having just completed aU.S tour with Paul Whiteman.There were two Europeantours – in 1933 and 1935 - inwhich the Boswells excelled,both of which includedmultiple engagements at theLondon Palladium, where thegirls were mobbed byautograph seekers.
In 1932, the triocelebrated their first majorfilm, The Big Broadcast. In-spite-of the film’s all-star cast– Bing Crosby, Burns &Allen, Kate Smith and CabCalloway among others, itreceived mixed reviews. Itwas also the year in whichConnie Boswell began a solocareer, while continuing toperform with Martha and Vet.
Connie now had her ownradio show and made fourteenrecords with the trio and eighton her own.
The group’s greatestsuccess came during theperiod 1930 – 1935. Theircareer as a trio endedsomewhat abruptly in 1936.After a handful of sidesrecorded for Decca earlier thatyear, Martha and Vet quit themusic business to becomewives and mothers. OnlyConnee continued in showbusiness, enjoying asuccessful solo career into the1960s. The Boswell Sistersserved as role models for theAndrew Sisters and as aninspiration for Ella Fitzgerald.Indeed, Fitzgerald freelyadmitted to imitating ConneeBoswell’s style in “TheObject of My Affection,” oneof two songs she performed atthe age of seventeen in a talentcontest at the Apollo Theaterin Harlem.
Author RichardLamparski described themagic of the Boswell Sistersthis way: “The BoswellSound, as it is stilled called inthe music business, created asensation. There had beensister acts before, and manysince, but it was these threeSouthern girls who were ableto blend their voices in a waythe public never heard before– they merged harmony,rhythm and feeling to producea music togetherness that hasbeen imitated but neverequaled.”
