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OCTOBER 2018www.APSSinc.org
Newsletter
VOLUME 40, NUMBER 1 Formerly New York Sheet Music Society
By Jerry Osterberg
Continued on page 3
There were Sol Hurok,Florenz Ziegfeld, OscarHammerstein I, and nowthere’s Richard Skipper.With musical theater in hisblood, Richard has become amodern-day impresario in hisown right. Find a venue,print the tickets, repaint thescenery, and he’ll do all therest. As he has for the pastfew seasons, this force ofnature came up with yetanother terrific crowd pleaserand a perfect season closer.
Richard assembled amarvelous cast for the Juneprogram with the music ofCole Porter as the theme.
With such a vast catalogto pick from, he wisely choseto open with “AnotherOp’nin, Another Show,”performing the iconic openerfrom Kiss Me Kate, Porter’smost successful Broadwaymusical, starring AlfredDrake and Patricia Morison.When the production wasrevisited with Brian StokesMitchell and
Marin Mazzie in 2000, itran for almost 900performances, ranking justbehind 1953’s Can-Can.
Accompanied by DarylKojak, next up was HannahJane Peterson, a seventeen-year-old charmer who wasthe first runner up in theAdela and Larry ElowAmerican SongbookScholarship Competition.
Hannah sang “AnythingGoes,” performed by Ethel
Merman in the 1934 musicalof the same name. Thiselegant young performer,who’s been singing with achoir since theage of four,appears to possessa bit of thesophisticated BigBand singer in hergenes. Indeed,Alix Cohen, inher glowingreview of Hannah’s solodebut at the LaurieBeechman in September,wrote “Peterson wouldundoubtedly be undercontract to MGM were thisan earlier era.”
With a youthful vitalityquite impressive for her age,Sally Darling engaged themembership with herc h a r a c t e r i s t i c a l l yapproachable style, filledwith humor and good will.She’s perfectly matched to
the lyrics of Porter, not tomention those of Noel
Coward, both among herfavorite songwriters.Opening with “Pets,” a cutesong which was cut from
Let’s Face It, asuccessful outingwhich starredDanny Kaye andEve Arden in1941, Sallyfollowed it with“Make It AnotherOld Fashioned,
Please,” performed by EthelMerman in 1940’s PanamaHattie.
Jeff Harnar, never fearfulof doing songs with lots ofchoruses, as well as somewhich require effecting thevoice of a character, sang“It’s De-Lovely,” which hastwo verses and five refrains,not particularly unique forPorter, considering that“Let’s Not Talk AboutLove,” contains a refrainwith thirty lines.
“It’s De-Lovely” wasoriginally written for the filmBorn to Dance, but not used.It was, however, employed inRed, Hot, and Blue, a 1936musical starring Merman,Jimmy Durante, and BobHope, who joined Merman ina duet. For somethingcompletely different, Jeffperformed “A Little Skipperfrom Heaven Above,”channeling Durante, who inthe play led a small chorus asonly he could.
True to the title of hissuccessful show and his CDCroon, Todd Murray hasdemonstrated time and againwhat crooning is supposed tosound like. Todd’s richbaritone tends to put one inmind of Dean Martin, whowas in turn influenced byBing Crosby. Toddperformed “Don’t Fence MeIn” and “I Happen to LikeNew York,” the formerwritten in 1934, although notused until ten years later inthe movie “HollywoodCanteen,” sung in authenticcowboy style by Roy Rogers.The tune was recorded bymany, but the biggest hit washad by Bing Crosby and theAndrew Sisters. Todd’ssecond selection “I Happento Like New York,” is amuscular composition fromthe musical The NewYorkers, which appeared on
Cole Porter
Photo by Rose Billings
(l-r) Jeff Harnar, Sally Darling, Richard Skipper, Karen Oberlin, Todd Murray,Hannah Jane Peterson, Daryl Kojak, Leslie Orofino.
Well, Did You Evah! What a Swell Party This Is:Richard Skipper Celebrates Cabaret and Cole Porter
It is my pleasure to welcome you to the 2018-2019 season of the AmericanPopular Song Society! It still amazes me that after decades of being involvedwith this organization (over 20 years as the President), I am still excited abouteach and every meeting. I cannot sufficiently thank our Board of Directors, all
the artists who have performed for us over the years, the great team who make our incredibleNewsletter happen each month, and especially: YOU, our devoted members, whose enthusiasticpresence makes everything we do worthwhile.
The first meeting on Oct. 13th, stars Alex Leonard sharing with us his wonderful show onHarry Warren. This legendary composer was nominated 11 times for the Oscar, and won threetimes for “Lullaby of Broadway,” “You’ll Never Know” and “On the Atchison, Topeka and theSanta Fe.” Warren will always be remembered for the iconic musical, 42nd Street. If you want toknow more, come to Local 802 to enjoy this interesting and tuneful program. The Pre-showentertainment that we introduced last year has quickly become very popular. In October, you willmeet Nicola Miller, from England. She is a remarkable opera singer, but also crosses over intopopular music. Nicola is known for her series “Opera for the People,” and will be performing atThe Triad in late October.
I just want to remind you that we open the doors at 1:00PM for seating, networking,socializing, schmoozing, and browsing the “Member Exchange Table.” You can leave sheet music,books, CD’s, DVD’s and memorabilia on the table for others, and take whatever you want fromthe table. All of this is FREE, but a donation to APSS in the “Glass Jar” would be appreciated.Many thanks to Cynthia Crane and Ted Story for donating their extensive sheet music collectionto us. You will find some of their treasured music on the table this season.
The meeting begins at 1:30 with the “President’s Welcome & Announcements.” If you havea show, book, or a CD to promote, this is a good time to let me know and I will talk about it.We always have a table reserved for members to display their flyers and information on. At 1:45the Pre-Show entertainment is presented. At 2:00 the program of the month begins. 3:30-4:00PMis reserved for you to talk to the talent, take photos, buy their CD’s, get books signed, and saygoodbye until we meet again a month later.
Enjoy the first Newsletter of the season. Remember to rejoin, get your friends to join andattend each month. I have printed up APSSbusiness cards that you can hand out to potentialmembers and guests, and also a brochure about us.This will help you spread the word about our funevents and let others know about what is called “thebiggest bargain in town!”
PAGE 2 AMERICAN POPULAR SONG SOCIETY OCTOBER, 2018
President’s Message...Linda Amiel Burns, President
Linda
President:Linda Amiel Burns
Vice Presidents:Joan AdamsSandi Durell
Treasurer & Membership:Glen Charlow
Secretary:Marilyn Lester
Board Of Directors:Elliott AmesBill Boggs
Glen CharlowSandi DurellWill FriedwaldMichael LavineMarilyn LesterSandy MarroneJerry OsterbergJudy StewartTom Toce
Membership Mailing Address:American Popular Song Society
P.O. Box 5856Pikesville, MD [email protected]
(212) 315-3500 (Linda A. Burns)
American PopularSong Society
MEETING LOCATION: Local 802 – Musicians’ Hall322 West 48th Street. Program: 1:45 – 3:30PM.
Come early to look thru Sheet Music & CD’s & stuff, all FREE.
N E W S L E T T E REditor/Publisher: Jerry Osterberg
[email protected] Editor: Marilyn Lester
[email protected] Editor: Joan [email protected]
Graphic Designer: Glen [email protected]
Jerry Osterberg, Steve Ross, & Todd Murray
p.s. Due to an increase in expenses, we hadto raise the membership dues only 5.00. So asingle yearly membership is now 60. and couplesare 80. We make every effort to keep these feeslow. Of course if you want to join at the Angel,Patron or Benefactor levels, that's alwaysanother option of membership.
Best wishes,
Broadway in 1930. Althoughthe play didn’t have anespecially long run, itincluded “Love for Sale,”which became a popularstandard.
Accompanied by SteveRoss, the always in demandcabaret star, Karen Oberlin,performed “Miss OtisRegrets,” which had beenadded to the score of HiDiddle Diddle, presented atLondon’s Savoy Theater
in 1934. It was the onlypublished song whichemerged from the productionand was recorded by AlbertaHunter, Ethel Waters, CharlesTrenet, Edith Piaf, MarleneDietrich, and countless others.Karen, whose cabaret catalog
is about as diverse as theycome, inhabited the song withher characteristicallyunvarnished candor.
Having recently stagedanother edition of her popularshow Cocktails with Cole,Leslie Orofino contributed“The Laziest Gal in Town,”written in 1927, but notrecorded until 1940. It’s beenperformed by a diverse groupof actress singers, includingJulie Wilson, one of Leslie’sbiggest fans, Karen Akers,Jane Krakowski, and evenMarlene Dietrich. RobertKimball believes that it waswritten for a summer revuebut laid untouched for a dozenyears. Leslie, who’s beengenerating good notices for along time,
completed her set with“Too Darn Hot,” another of
the best- known songs toappear in Kiss Me Kate.
Steve Ross played andsang a lovely tune from theBroadway musical Out of ThisWorld, which opened justbefore Christmas, 1950. Thesong, “They Couldn’tCompare to You,” wasdelivered by Steve with all theheart which one would expectof a devoted chronicler ofCole Porter. Karen Oberlincame back up to perform aduet with Steve on “TrueLove,” written for HighSociety, a film which starredFrank Sinatra, Bing Crosby,and Grace Kelly. The songwas performed on screen byCrosby and Kelly. Theromantic arrangement byConrad Salinger, helped thecommercial recording toreach #4 in both the United
States and the UnitedKingdom. Not particularlyknown for her singing,nonetheless, Grace Kellyreceived full credit along withBing Crosby. For her, the songearned Kelly her one and onlygold record. For Crosby, itwas his twenty-first.
The entire cast returned tothe stage to lead the audiencein a rendition of “In the Stillof the Night.” The beautifulsong from the 1937 filmRosalie was performed by aninspired membership withmuch vim, vigor, andenthusiasm. Thank you,Richard, for creating aspectacular concert to honorone of America’s greatestcomposers. We can’t wait tofind out what you have instore for us next year.
OCTOBER, 2018 AMERICAN POPULAR SONG SOCIETY PAGE 3
Cole Porter...Continued from page 1
Jimmie Blanton and the Transformationof the Upright BassOctober 5th marks the
100th birthday of bassistJames Harvey “Jimmie”Blanton, whose tragicallyshort life had one of thegreatest impacts on theway jazz and popularmusic is played to thisday. Originally, the tubawas the time-keeper in ajazz band or pop musicoutfit. Sometime in the1920s the upright bassbegan to replace the tubain this function. Even so,the bass was still played to
emulate the tuba’s “oom-pah” 4/4 meter style. Blanton changedall that. He rose to prominence with the Duke EllingtonOrchestra (DEO) and his legacy is such that with star tenorsaxophonist, Ben Webster, the so-called “The Blanton-WebsterBand” of 1939-1941 is considered by many to represent thepeak of the 50-year history of the DEO under Duke.
Blanton’s musician mother, Gertrude, started him on violinas a child. He switched to the bass at Tennessee State College.
There, he played with the State Collegians, as well as with localbands and on riverboats during school breaks. In 1937, he quitschool and moved to St. Louis, which is where Ellingtondiscovered him. Billy Strayhorn and Ben Webster first heardBlanton play in an after-hours joint, rushing immediately tofetch Ellington at their hotel. Ellington later said, “I flipped likeeverybody else.” On Nov. 2nd, 1939, Blanton sent a telegramto his mother, telling her he was leaving St. Louis the next dayto join the Ellington Orchestra.
The magic of Blanton’s playing is that he went beyond thelimits of accepted bass technique. He was the first to make thebass a solo instrument in its own right. He played with plentyof swing, using melodic phrasing in bowing and plucking forrhythmic variety. He was also adept at pizzicato playing –plucking the string parallel with the finger, rather than at a rightangle, to achieve maximum resonance.
In 1941, Blanton became very ill and was diagnosed withtuberculosis. On November 18th he entered the hospital andlater died in a sanitarium on July 30th, 1942 at age 23.Ellington, deeply affected, said, “It was just horrible that aman’s life should have been wasted that way.” Jimmy Blantonmade over 130 recordings with Ellington. His featured soloson “Jack the Bear” and “Ko-Ko” remain to spotlight hisextraordinary talent and transformative playing.
By Marilyn Lester
PAGE 4 AMERICAN POPULAR SONG SOCIETY OCTOBER, 2018
Harry Warren: The “Invisible” SongwriterBy Marilyn Lester
Harry Warren’s first hit song was1922’s “Rose of the Rio Grande” (lyricsby Edgar Lelsie), a success that spurredan extraordinary career, ending only withhis death in 1981 at age 87. Warren wrotean estimated 900 songs, many of thembecoming the Songbook standards weknow and love. Yet, though he wasimmensely prolific, he never attained thenotoriety of a Berlin, a Carmichael or aMercer. Warren’s name was virtuallyunknown to the American public, even atthe very peak of his career. The writerWilliam Zinsser dubbed him “theinvisible man.” Warren himself jokedabout his songs being more famous thanhe. “Even my best friends don’t knowwho I am,” he quipped. “At the AcademyAwards show in 1936 when they gave mean Oscar for ‘Lullaby of Broadway,’ Ihad trouble getting past the securityguard. On the very first record I evermade, ‘Rose of the Rio Grande,’ they leftmy name off the label.”
Harry Warren was born on ChristmasEve of 1893, in Brooklyn, NY, asSalvatore Anthony Guaragna. He was the
11th of 12 children born to Italianimmigrant parents (it was his father whochanged the family name to Warren). Hesang in the church choir and taughthimself to play several musicalinstruments, including his father’saccordion, as well as the piano. Leavingschool at age 15, Warren became adrummer with the John Victor BrassBand, and also worked with touringcarnivals. He became a stagehand invaudeville and then a props man andoffstage piano player at VitagraphStudios, where he also acted in bit partsin film.
When the United States enteredWorld War l, he joined the US Navy,where he began writing songs. After hisdischarge, Warren went to work as a songplugger on Tin Pan Alley for thepublishing house of Stark and Cowan.The song that got him the job there washis “I Learned to Love You When ILearned My A-B-C’s,” for which he alsowrote the lyrics. The song was neverpublished, but a long career had begun.Between 1935 and 1950 alone, 21 of hissongs made it to #1 on the radioshow “Your Hit Parade.” He garneredeleven Academy Award Best Songnominations and won three Oscars for“Lullaby of Broadway,”“On the Atchison,Topeka, and the SantaFe,” and “You’ll NeverKnow.” The first goldrecord in history was his“Chattanooga ChooChoo,” which sold overa million copies.
In the early 1930s,Warren joined the greatmigration of songwritersto the West Coast, wherehe began writing for themovie studios. Heworked with a variety oflyricists over the years, including Sam M.Lewis, Mort Dixon, Bud Green, GusKahn and (briefly) Johnny Mercer. And
even though he collaborated more withMack Gordon than any other lyricist, hismost high profile union was with AlDubin. In 1932, Warren was asked toscore the movie musical 42nd Street withDubin. The movie was so successful itspawned a decades-long career ofworking on other films with the lyricist,including the popular Gold Digger series.During his career, Warren worked at mostof the major Hollywood studios, the lastbeing Paramount in the 1950s, where hewrote his last big hit, “That’s Amore.”
Harry Warren was a melodist firstand foremost. His writing was less aboutharmonics, counterpoint or form, andheavy in the verve and vitality of themelody. Because of this style of writingsongs, there was a wide berth left openfor improvisation. Consequently, histunes have always been popular amongjazz musicians. His “Nagasaki,” forexample, is a jam session staple. Early onin Warren’s career, the likes of BixBeiderbecke, Fats Waller, BennyGoodman and Dave Brubeck, amongmany others, eagerly recorded Warrensongs. Warren also wrote a large numberof novelty songs such as “In MyGondola,” and at the end of his career heattempted to become a serious composer,
completing a Latin mass in 1962, whichwent unheard for a decade and which hasnever been recorded.
Linda Amiel Burns, APSS President, is celebrating four decades of The SingingExperience. Several APSS members have taken this workshop, some more thanonce. For those of us who have, we can assure you that you’ll feel like a pro bythe night of the performance. Although many students have never sung in publicbefore, the supportive environment has prepared them well for their debut. CallLinda 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.
The word from Linda is that the holidays are “just around the corner.” Whateverhappened to the summer you ask? What better way to prepare for the winterseason, than to signup for the next workshop of The Singing Experience! Nota singer? Get a gift certificate for that special someone who’s always wanted totake center stage. ‘Tis the Season, workshop #484 will begin on Thursday,November 8, and continue on November 15, November 29, and December 6. Allrehearsals are from 6:30 to 9:30 PM and take place at Studio 353 at 353 West48th Street. The performance will be held at the Triad, West 72nd Street, onThursday, December 13. To register or for additional information, contact Linda@ 212-315-3500 or write [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, Hosted byRonny Whyte. October 3, Art Baron, James Weidman, and Yasushi Nakamura;October 10, John Eckert Nine; October 17, Songs of Harold Arlen with JosephineSanges; October 24, Howard Williams Big Band; October 31, Jill McCarron.Suggested donation: $10. Parking: Icon Parking, East 51 St, between Third andLexington Ave. $15 including tax for five hours with validation@Saint Peter’sReception Desk. www.saintpeters.org/jazz/midtownjazz.htm. www.ronnywhyte.com
Speaking of Ronny Whyte, he’ll be bringing his band, Boots Maleson – bass, RayMarchica – drums, and Cecilia Coleman – piano, to Birdland on October 4 @5:30 PM, 315 West 44th Street, $25 music charge and $10 minimum. Call 212-581-3080 or visit www.birdlandjazz.com.
The Art of Cabaret seminar, which enjoyed a successful outing a few monthsback, returns on Monday, October 29, from 2:00 to 4:00 PM @ The EpiscopalActors Guild, 1 East 29th Street. The panel will be made up of Linda Amiel Burns,Sidney Myer, and Mark Nadler. “Life is a cabaret, old chum” and if that’s howyou feel than come to this seminar and learn about the tools you need to sustainyour career in this unique profession. Admission is free, but registration requiredbeginning in mid-October. Write [email protected] or call 212-685-2927 .
OCTOBER, 2018 AMERICAN POPULAR SONG SOCIETY PAGE 5
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 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.
To our knowledge, this will not be Carol Shedlin’s farewell tour. The 2018 MACHanson Award Winner returns to Don’t Tell Mama, 343 West 46th Street withSkylarking: The Songs of Hoagy Carmichael with Jon Delfin – piano and BootsMaleson – bass. Directed by Linda Amiel Burns, the show will run on Mondays,October 8, November 19, and November 26. $12 music charge and 2 drinkminimum (cash only), $10 music charge for TSE, MAC, APSS, SAG/AFTRA.Call 212-757-0788 between 4:00 and 9:00 PM for reservations.
Bill Thomas also comes to DTM with his fabulous 6-piece band, Richard Danley– piano, Steve Doyle – bass, Mike Campenni – drums, Dan Pearson – horns,Jonathan Russell – violin, and Stephen Benson- guitar, on Sunday, October 7@ 5:30 PM, Saturday, October 13 @ 8:00 PM and Sunday, November 4 @ 3:00PM. The show is directed by Linda Amiel Burns. Cover charge: $15, 2 drinkminimum, cash only, and discount for MAC, TSE, APSS, SAG/AFTRA. Call 212-757-0788 after 4:00 PM for reservations.
APSS member Amy Asch will be performing with the Riverside Choral Societyon Sunday, November 11 @ 3:00 PM a moving choral piece based on the Diaryof Anne Frank, with soprano Illana Davidson, Conductor Patrick Gardner, andmusic by James Whitbourn. The program, Annelies, will take place atCongregation Rodeph Sholom, 7 West 83rd Street. Tickets are $25, $40, $70,and $90. For reservations, call 212-780-2181 or visit www.riversidechoral.org.
Board member Marilyn Lester is now the Executive Director of the new nonprofitAmerican Songbook Association (an outgrowth of the Cabaret Scenesfoundation). The mission is publishing the magazine, bringing the music into theschools and providing quality, low-cost performances to senior citizens, studentsand all who love songbook music. Please checkout www.americansongbookassociation.org
APSS Board member Tom Toce has recorded a studio version of his successfulMAC Award nominated cabaret show Songwriter in the House at theMetropolitan Room last year. The recently released CD is different than Tom’searlier album. It features his singer-songwriter songs and his vocals throughout.Backing Tom are Jon Burr - bass, Sean Harkness - guitar, Justin McEllroy &Peter Millrose - vocals. The CD is available on CD Baby.https://www.cdbaby.com/cd/tomtoce.
Carol J. Binkowski’s new book, Opening Carnegie Hall: The Creation and FirstPerformances of America’s Premier Concert Stage was just published byMcFarland & Co. www.caroljbinkowski.com.
Hilary Kole’s newest CD: The Judy Garland Project (Miranda Music) is now on-sale. The remarkable performer conjures the spirit and beauty of Judy Garlandin stunning arrangements of songs made famous by the legendary singer,including The Trolley Song, The Man That Got Away, Over the Rainbow.
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 ofwhich can be yours very reasonably. She is a marvelous resource and a super-great lady! Having heard from only a few of our members over the past year orso, Sandy wants to remind you that she’s still at it, adding to her collection everyday, and always willing to part with sheet music at especially fair prices for us.Sheet music was the reason we were founded thirty plus years ago, after all, andshe’s only a phone call or e-mail away. Sandy continues to be willing to offerfree appraisals with no expectation of having right of first refusal and can provideunbiased advice as to how and where to sell music. It’s not a secret, pass it onplease.
October 13, 2018Alex Leonard presents Harry Warren
November 10, 2018Amy Asch on Alan J Lerner
December 8, 2018Celebrating Frank Sinatra on his birthday with
clips and songsJanuary 12, 2019Anderson TwinsFebruary 9, 2019
- TBA - March 9, 2019
Ron FasslerApril 13, 2019
Celebrating Jazz MonthMay 11, 2019
Songwriter ShowcaseJune 8, 2019
Richard Skipper on TBA
P.O. Box 5856 • PIKESVILLE, MD 21282
Did you know every issue of this newsletteris in COLOR online at www.APSSinc.org
OCT - NOV - DEC is RENEWAL TIMETime to renew your Membership. If you’re a RENEWINGmember, just send your check in as long as it has your name andaddress on it. If you know of anyone interested in joining, havethem go to our website, www.APSSinc.org, click on the“membership” tab, fill out the form to pay online or at the top ofthe page, click to download the application. It’s that easy.
American PopularSong Society
1. Morris Hyman Kushner A. Yip Harburg2. Edward Chester Babcock B. Harry Warren3. Israel Beilin C. Ray Henderson4. Hyman Arluck D. Vernon Duke5. Irving Maurice Druckman E. James Van Heusen6. Vladimir Dukelsky F. Ervin Drake7. Salvatore Garaugna G. Lew Brown8. Isidor Hochburg H. Irving Berlin9. Morris Gittler I. Cy Coleman10. Raymond Brost J. Burton Lane11.Seymour Kaufman K. Harold Arlen12. Louis Brownstein L. Mack Gordon
Answers:
What’s in a Name?Match the birth name with the professionalname of these well known songwriters.
1 (J); 2 (E); 3 (H); 4 (K); 5 (F); 6 (D);7 (B); 8 (A); 9 (L); 10 (C); 11 (I); 12 (G)
Thanks goes to APSS member David Tane.
What’s in a Season?
2018 - 19
