JUNE 2016www.APSSinc.orgVOLUME 37, NUMBER 9

By Jerry Osterberg

To the Programs Down at Linda’s,to the Place Where Music Dwells,

to the Dear Old 802 We Love So Well…Tom Toce’s Latest Singer & Songwriter

Showcase Features Emerging Talent from Yale

Formerly New York Sheet Music Society

Julius La Rosa –A Recollection

Julius (Julie) La Rosa was a veryspecial guy! Not only did he have one ofthe best crooner voices of his generationbut, as Whitney Balliet pointed out in hisbook, American Singers, “no singer hadclearer diction” and he had a “hellosunshine sound” that made for a cheerful,gentle, mystifying vocal quality.

My own personal experience withhim came as a result of the radio show,Welcome to the Club, which I hosted onWRTN – 93.5FM, in the 1990’s. Thestation owner and president, WilliamO’Shaughnessy, was a longtime friend ofLa Rosa, and a fellow Westchesterresident. La Rosa was always invited tothe station’s yearly St. Patrick’s Daycelebration, a live broadcast fromDudley’s Restaurant in New Rochelle. Ifmy memory serves me correctly, he rarelymissed the event. Fortunately for me, Ihad the rare opportunity to spend anafternoon of informal off-air chit-chatwith La Rosa and another local celebrityguest, renowned opera singer, RobertMerrill, over large mugs of cold, greenbeer.

I eventually mustered up the courage

Tom Toce may not be a famouschef, a fire chief, or building inspector, buthe may well be an intrepid explorer. Byday, Tom is a mild-mannered actuary andsuccessful at what he does. By night, heassumes a quite different role, that of anaward-winning songwriter. Primarily, Tomis a lyricist, although he’s been known, onoccasion, to write both words and music.Several of his compositions have beenperformed and/or recorded by stars such asCarole J. Bufford, Cynthia Crane, TovahFeldshuh, Maude Maggart, AndreaMarcovicci, Jane Monheit, MarissaMulder, Jennifer Sheehan, and KTSullivan.

A bit of a Renaissance man, Tomadmits to being influenced by RandyNewman, the scion of a Hollywooddynasty. Like Newman, he leans towardfunny, clever songs, not that he hasn’twritten serious ballads too: “The Night IFell in Love With Paris,” “Michael’sSong,” and “Say You’ll Remember.” But,if you’ve been charmed by RandyNewman’s “Short People,” you’ll beabsolutely delighted by Tom’s “Shalom,Santa” and “Got to Learn to Emote.” LikeLarry Kerchner, another of our active,prolific composer/lyricists, Tom Toceexplores the full range of human emotions.He finds the hilarious humor in most

Back row: Linda Burns, David Alpher, Sarah Downs, Perry Sook, Zak Sandler, Alex Ratner, and Nicholas LevinMiddle row: Lucy Coolidge, Jennie Litt, Tom Toce, Megan Loughran, Susan Horowitz, and Michael Winther

Front row: Julia Meinwald, Megan Stern, Sam Bolen, Brennan Caldwell, and Marshall Pailet

Continued on page 4

by Lynn DiMenna

PAGE 2 AMERICAN POPULAR SONG SOCIETY JUNE, 2016

Don’t miss the last Program of our 2015-2016 Season on Saturday, June11th at The Musicians Hall of Local 802! We are extremely fortunate tohave jazz virtuoso Aaron Weinstein as our guest. He is known as “the

Groucho of the Violin” and is a renowned musician and entertainer.

Many thanks to Tom Toce for putting together a great Program last month for our annualSongwriter’s Showcase. The theme was talented songwriters, singers and musiciansfrom Yale University (with just a few exceptions) and you can read all about it in thisissue’s lead story, written by our Editor-in-Chief, Jerry Osterberg. This month’sNewsletter features several other very interesting articles which I am sure you will enjoy.

Collector’s Corner! Can you imagine getting memorabilia and musical treasures FORFREE? Just a reminder that if you come early to Local 802 (between 12:30 & 1:30pm),you can pick up sheet music, books, and CD’s at no cost! People donate their collectionsto us, and it is our pleasure to share the items with you, as a gift from APSS. You mightwant to leave a donation in the jar, but that is optional.

I want to wish everyone a healthy and enjoyable summer, and as the song says, “See youin September, see you when the summer’s through.” You will get a Newsletter fromus in September; however, we will resume our 2016-2017 season’s meetings on October8th with “The Algonquin Kid,” Michael Colby’s remarkable program produced by SandiDurell.

This was another terrific year of exciting presentations, and the first year with our newname: the American Popular Song Society. I am very proud of what has beenaccomplished and, along with you, I am looking forward to the future, as ourorganization continues to grow and thrive.

Looking forward to seeingyou on June 11th!

Best wishes,

President’s Message...Linda Amiel Burns, President

Linda

APSS Member: Susan Horowitz

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 Lavine

-------------------------------------Publicist

Richard Skipper CelebratesRichard@RichardSkipper.com

Programs & Special EventsElliott AmesSandi DurellTom Toce

APSS Official Photographer:Rose Billings

Graphic Designer, Web GuyGlen Charlow

N E W S L E T T E REditor/Publisher: Jerry Osterberg

osterbergg@aol.comContributing Editor: Marilyn Lester

mj@mjlester.comAssociate Editor: Joan Adamsjoan.adams@corcoran.com

Graphic Designer: Glen Charlowinfo@APSSinc.org

Membership Mailing Address:American Popular Song Society

P.O. Box 5856Pikesville, MD 21282

info@APSSinc.org(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.

Tom TocePhotos by Rose Billings

corners of the human condition, althoughlittle of the romance and heartbreakescapes his notice.

Within the past few years, Tom’sstar appears to be rising. After presentingHopelessly in Love to the New York SheetMusic Society in 2013, he went on toaccept the producing reins from SandiDurell for the annual Singer & SongwriterShowcase, beginning in 2014 with LivingStandards. Starring Marissa Mulder, thewell-received program was reprised at theMetropolitan Room soon after, anotheropportunity for Marissa to shine brightly, achallenge well met. Far from exhaustingthe available talent pool, Tom returned lastyear with a second edition of LivingStandards, this time with a diversified castwhich included himself. Filling in for TomGamblin, who had to cancel out close toshow time, the singing songwriter didhimself proud.

Never content to rest on his laurelsor limit his extracurricular activities, Tomwrites puzzles for the AAA, as in AmericanAcademy of Actuaries, appeared onJeopardy (inducted into the elite “Hall ofChampions” for high score in a singlegame), has written musicals for children,and more recently, reviewed a new FrankSinatra biography for the Los AngelesReview of Books. In addition to all that, heproduced the Harvard-Yale Cantata at 54Below, which featured Harvard alumniperforming songs written by Harvard gradsin competition with Yale graduatesperforming songs written by former Yalestudents, a category which includes Tom.The friendly feud generated favorablereviews, and 54 Below has committed tohosting another tournament in the fall.

In 2015, Tom made hisperforming debut with Songwriter in theHouse at the Metropolitan Room,accompanying himself on guitar, backedup on bass by Jon Burr. Although he wasunaccustomed to presenting his ownmaterial, his performance drew respectablepraise, enough to encourage Tom to extendthe engagement. With such experiencebehind him, Tom was well suited toproduce this year’s showcase on May 14,

the theme being emerging songwritersfrom Yale, to no one’s surprise.

And so, at precisely 2:00 PM,undoubtedly as the old carillon bellschimed from the Harkness Tower on theYale quad, Linda re-introduced Tom Toceand the show began with Richard Maltbyand David Shire’s “Crossword Puzzle.”

With Alex Ratner on piano, Lucy Ledbetterdelivered the cute tune, as she did later with“I Got Me a Carpenter,” words and musicby Ratner, now part of the illustriousalumni which include Cole Porter, MitchLeigh, Maury Yeston, and Adam Guettel.Susan Horowitz, one of the APSS’smembers, rendered her own tunes “Blameit on the Tango” and “Together Forever,”both songs seemingly influenced by Porter.

Tom Toce’s “You’re a No-Brainer” and “When I Remember You,”written with Bill Zeffiro and NicholasLevin, respectively. The songs wereperformed by Brennan Caldwell, who alsosang Marshall Pailet’s “Player 2” (writtenwith Drew Fornarola), and Zina Ellis, whoalso contributed “Money Matters,” a tuneby Lucy Collidge and Tom, Ellis joined byJennie Litt and Megan Loughran in lovelyharmony. Collidge was additionallyrepresented in “On Line for Section A”which she wrote with Frank Evans, heresung by Loughran. Her set list included“Hate Me” (Zak Sandler) and “ThePregnancy Song” (Robert Lopez & KristenAnderson). Perry Sook joined Loughranfor “Hate Me.”

Singer-Songwriter Jennie Litt,accompanied by her husband andcollaborator David Alpher, performed herown “You and Your Big Nose,” the secondnumber “Two Apples” sung by SarahDowns. Megan Stern delivered “It’s Hardfor Me Not to Love You,” and“Hummingbird Heart,” both written by

Julia Meinwald with Gordon Leary.Another tune by Pailet was “This BoyHere,” partnering with A.D. Penedo thistime. The singer, Sam Bolen, added“Feelin’ Our Way,” words and music againby Ratner. Broadway veteran MichaelWinther performed Zak Sandler’s “AnOpera Kid,” arguably the most heart-wrenching song of the day.

Most of the accompaniment wasprovided by the deft pianist Jon Delfin, aseven time crossword puzzle winner, whowas featured in the documentary,“Wordplay”. Tom Toce presented aprogram with something for everyone.Representing eighteen original songs weretwo dozen composers, lyricists, andvocalists. It’s encouraging that not only isthere so much young and energetic talentout there, but that the performance was sowell received by the APSS audience,schooled as it is in the AmericanSongbook. Tom Toce is not the onlyproponent of popular music to remind usthat plenty of good, hummable tunes havebeen added to the canon over the pastseveral decades. While there may be fewersongs of today’s singer-songwriters whichwill exist independently, that is, covered byother artists, the same might have been saidof an earlier time. Isn’t it grand to be part ofan organization which might well be at thevirtual cusp of a new age of popular musicwhose songs are of the caliber to stand thetest of time.

JUNE, 2016 AMERICAN POPULAR SONG SOCIETY PAGE 3

Singer/Songwriter...Continued from page 1

Not in group photo: Lucy Ledbetter

From bottom: Brennan Caldwell, Sam BolenMarshall Pailet

PAGE 4 AMERICAN POPULAR SONG SOCIETY JUNE, 2016

to ask him to be a guest on my radio showand he enthusiastically agreed. A date inJanuary was set, but a blizzard hit the daybefore the interview, and two feet of newsnow hit the ground.

Given that I was coming fromConnecticut and he would be leaving fromhis home in Irvington, NY, I thought longand hard about calling him that morning tocancel. I decided to plod ahead, but once Iwas on the slick roads, I fully expected toreceive a cancellation call from him whenI reached the station, suggesting analternative date. To my shock andamazement, we both made it in to thestation with time to spare. I will neverforget peering out of a frost covered office

window, watching him navigate his waythrough the three-foot-high snowdrifts thatlined the path outside the studio door. Hehad a look of sheer determination on hiskind but craggy face, as he exited his carand made his way through the drifts intothe building.

Once in, it was as if my own brotherhad just arrived from out of town tosurprise me. He was incredibly sweet andso concerned that he would havedisappointed me if he hadn’t shown up.The show soon began and we immediatelyengaged in some on air conversation abouthis career and family life. We began talkingabout our Italian roots and, in retrospect, Imay have been feeling just a bit toocomfortable. I asked him if he knew theEnglish words to “Torna A Sorrento?” Tomy surprise, he said he didn’t and,

instinctively, I just started singing them “acappella.”

Playing gently o’er the water, softwinds murmur low, remember? Andenchanted I lie dreaming, sighing, longingdear for you!

Without missing a beat, he chimed inwith the original Neopolitanlyrics…Gurard gua’ chistu ciardinao.Siente sie’ sti scuire ‘arancio…nu profumoaccuse fino, dint’o core se ne va.

We then finished our respective versesin duet to the end, much to our amazementand delight. It was a lovely, spontaneous,unrehearsed moment on the radio with oneof the nicest and most highly regardedinterpreters of the American Songbook andI will never, ever forget it or him.

La Rosa by Lynn...Continued from page 1

The violin is probably one of the most versatile of all musicalinstruments. Its history evolves from humankind’s earliest impulse tomake music. As far back as ancient Sumer, in the cradle of civilization,musicians played stringed instruments that were either plucked, bowedor strummed. Through the centuries, evidenceabounds that every culture of record has a history ofstringed instruments, although no one knows whoinvented the violin as we’ve come to appreciate it. InEurope, the instrument can be traced to the 9th century,with Italy becoming the center of what we nowconsider modern violin-making. Who isn’t familiarwith that master of the instrument, Antonio Stradivari,who reigned supreme among luthiers in 17th centuryCremona.

Then there’s the fiddle, which is essentially aviolin with some modifications to make it easier toplay: whereas the violin became a staple of thesymphony, classical or concert orchestra, the fiddlerand his/her instrument specialized in traditional,country, and folk music.

When American music was revolutionized in the early 20th

century with the emergence of jazz, the violin was right there. Atypical jazz band, even from the earliest times, has been almost string-free (contrary to a symphonic orchestra). The emphasis has been onbrass and reeds: trumpets/horns, trombones and saxophones/reeds inaddition to the rhythm section of piano, drums, and bass (a tuba wasused for timekeeping in the earlier bands). Early bands might alsohave featured a banjo player, with the guitar quickly replacing it asthe music evolved.

The violin as a feature of jazz was not so much thought of, untilthe emergence of Giuseppe “Joe” Venuti, born in Italy in 1903, “thefather of the jazz violin.” Venuti was among the first to use a violin to

improvise solo lines in the jazz idiom. Along with guitarist EddieLang, Venuti advanced the “hot violin” style; as a duo, the two mademany recordings as featured soloists, mainly in the 1920s (Lang diedin 1933). Although his career in the 1930s waned, Venuti worked withmany great jazz and swing bands, including those led by BennyGoodman, the Dorsey Brothers, Bix Beiderbecke and Jack Teagarden.

Eddie South, born in 1904, was a classical violin prodigy. Heswitched to jazz which offered more opportunity than other outlets topeople of color. South’s career was encompassed entirely in Chicago.

Hezekiah Leroy Gordon Smith, known as StuffSmith (born in 1909) scored big with a jazz violin hit,“You’se A Viper.” Influenced greatly by LouisArmstrong, Smith, who also sang, gigged regularly inthe 1920s and 30s, notably with jazz greats AlphonseTrent, Coleman Hawkins and later beboppers CharlieParker and Dizzy Gillespie.

Ray Nance, born in 1913, who soloed with theDuke Ellington Orchestra, was also a trumpet playerand singer. Nance worked with Ellington from 1940 to1963, with a career highlight being the violincontribution to the original version of “C Jam Blues”in 1942.

But the violinist of the swing era most closelyassociated with jazz is Stéphane Grappelli, whofounded the “Gypsy Jazz” style of music with fellow

Frenchman, the gypsy guitarist Django Reinhardt. Their Quintette duHot Club de France was one of the seminal jazz groups of continentalEurope, flourishing between 1934 and 1948.

In 1920, Grappelli began playing violin at age 12; by age 15he’d already become a street musician, busking full-time to supporthimself. He became intrigued with the sound of Joe Venuti’sinstrument on the standard “Dinah,” and began to experiment with hisown style of playing jazz music, although he soon gave it up andswitched to piano playing, which provided a steady income. Grappellihad been working the keys for a bandleader named, Grégor, who urgedhim to take up the violin again. Around the same time, in 1931,Grappelli met gypsy jazz guitarist Django Reinhardt who was looking

by Marilyn Lester

Jazz Violin —Swinging at the Ziggurat?

Stéphane Grappelli

JUNE, 2016 AMERICAN POPULAR SONG SOCIETY PAGE 5

for a violinist interested in jazz. The two clicked, but their individualcommitments prevented a permanent arrangement until 1934. Therest, as they say, is history. Reinhardt was an innovator, whocreated a new style of jazz guitar technique. He alsocomposed; some of his works, which have becomestandards are “Minor Swing,” “Daphne,”“Nuages,” “Djangoology” and “Belleville.”Grapelli’s chemistry with Reinhardt wasmatchless. When Django died in 1953,Grapelli continued on, forging a stellarcareer as a jazz violin maestro, slowingdown, but still playing up until hisdeath in 1997, at age 89. He’s stillregarded as one of the foremostimprovisers in the history of jazz violin.

Jean-Luc Ponty, the virtuoso French violinist(born in 1942), attracted to the genius of MilesDavis and John Coltrane, took the style of the jazzviolin to the next level by taking up the electricviolin. Ponty also brought a symphonic approachto the music, birthing the school of jazz fusion.Ponty’s contributions were intertwined withtechnology; he was among the first to use distortionboxes, phase shifters and wah-wah pedals.

Today’s generation of modern jazzviolinists stand on the shoulders of thesepredecessors, and include stellar performers suchas Mark Feldman, Regina Carter, Sara Caswell,

Scott Tixier, Zach Brock, Christian Howes and ourown Aaron Weinstein.

In 1988, Stephen JayGould, a world-renownedprofessor of geology at HarvardUniversity, wrote an essay whichappeared in the New York Times.Entitled “Strike up the Choir!”the piece was a recollection of hishigh school days, primarily of hisexperience performing with theNew York All-City High SchoolChorus. The conductor duringGould’s tenure was Peter J.Wilhousky, whose mainresponsibility was to manage theentire music program in the NewYork City Schools.

The All-City Chorusconsisted of over 250 unformedboys and girls who Wilhouskymanaged to forge into a cohesivesinging machine beginning witha magnificent performance of1,500 voices at Madison SquareGarden in 1936. Speaking of aconcert which occurred morethan twenty years later atCarnegie Hall, Gould recalledbeing among a group of chorusalumni who joined the studentsto perform a difficult classicalchoral piece in close four-part acappella harmony. Said Gould:“I still marvel at the disciplinethat Wilhousky could maintainwith his mixture of awe andterror. PeterWilhousky…inspired us all andconveyed the most importantlesson of intellectual life. Hisonly rule, tacit but persuasive,

proclaimed ‘No compromises.’” At about the same time

Stephen Jay Gould was sharinghis music experience withreaders of the New York Times,the singing career of JuliusLaRosa, another alumnus of theAll-City High School Chorus,was in full swing. In reviewing aLaRosa performance atMichael’s Pub, musician andbiographer Dick Sudhalter wrote:“A song, one very wiseperformer has said, is a one-actplay. It tells a story, establishes apoint of view. Reveals truth,character, feeling. Fine singersknow this. In fact, there’s asinger…who illustrates itgrandly. His name is JuliusLaRosa.”

Four decades beforethat evening, a sixteen year oldLaRosa was performing with theGrover Cleveland High Schoolsenior chorus. Years later, hewould admit that he “joined thechorus to get those (rehearsal)days off.” Soon, after falling hardfor a beautiful young fellowchorus member who also sangwith the All-City chorus, he triedout in order to spend Saturdayafternoons with the object of hiscrush. The audition song was“Just a Song at Twilight” whichimmediately won him a place inAll-City. Of that day LaRosasaid: “I’ll never forget that. In mywhole life. That’s when I beganto sing. I was in the All-City

Chorus!” Although he dreamed

of playing baseball with theBrooklyn Dodgers, singingseemed much more accessible.“Well,” Julie said, “my father,though he was unschooled, likedmusic. Always I was hearingeither classical music or excerptsfrom operas. Not the wholeopera, just excerpts. I heard a lotof old Caruso records. I guessfrom that I developed a love ofmusic and ultimately singing.”Upon graduating high school ayear later, LaRosa joined the U.S.Navy to learn electronics to gointo the radio business with hisfather. Stationed in Pensacola,Florida, he worked by day andsang by night. Besidesperforming in the glee club, hesang for his supper, moreaccurately his drinks at a localroad house.

Those born within theera of the Great AmericanSongbook will already knowabout the early days of LaRosa’scareer. CBS radio giant ArthurGodfrey, an amateur pilot andNavy buff, happened to visit thePensacola Naval Base to furtheradvance his piloting skills andearn his wings. One of LaRosa’sbuddies got word to Godfreyabout the young man’s singingskills. Godfrey, always on thelookout for talent, especially if itwas cheap, agreed to listen to theBrooklyn born crooner.

Impressed by LaRosa’srenditions of “The Song is You”and “Don’t Take Your Love fromMe,” Godfrey offered him a spoton his extremely popular radioshow. The “Old Redhead,”persuaded LaRosa’s superior toallow him to take a few daysleave to appear on the program,and after a bit of polishing byGodfrey’s musical directorArchie Bleyer, LaRosa was onnational television in his dressblues, performing a solo “I OnlyHave Eyes for You” and joiningGodfrey for a duet of “Sam’sSong,” an established hit by BingCrosby and his son Gary.

Within days ofcompleting his four year hitchwith the Navy, LaRosa boughthimself a set of civilian clothesand became a member of ArthurGodfrey’s radio and television“family,” then consisting ofFrank Parker, Marian Marlowe,Lu Ann Sims, the Mariners,Haleloke, Jeanette Davis, theMcGuire Sisters, and other“stars” who sat around on foldingchairs waiting for their momentsin the spotlight. LaRosa wassoon popular, eventuallyattracting up to 7,000 fan letters aweek, more than Godfreyhimself. When viewers started towrite in asking where they couldpurchase LaRosa’s records, noneof which yet existed, ArchieBleyer got the idea to found hisown record company Cadence

By Jerry OsterbergJulius LaRosa: Earning Success One Day at a Time

PAGE 6 AMERICAN POPULAR SONG SOCIETY JUNE, 2016

and record the genuine star, whowas only 23 at the time. LaRosa’sfirst recording was “Anywhere IWander.” The label featuredLaRosa’s image and the numberof the record was F1230, anabbreviation of the date of hisbirthday: January 2, 1930.Along with “Eh, Cumpari,” acute Sicilian folk style song,LaRosa scored big; “Eh,Cumpari” reached number 2 onthe charts, while “Anywhere IWander” placed at number 4,both among the biggest hit songsof 1953. Of course, Rock &Roll, hadn’t made it to the chartsjust yet. Some of the oldercrooners were still producing hitsthat year: Tony Bennett, EddieFisher, Perry Como (three), DeanMartin, Frankie Laine, and NatKing Cole. All of this wouldsoon change, beginning in 1954.By the end of the decade, Rock& Roll had been dominating thecharts for three years.

With the benefit ofhindsight, there’s little doubt thatJulius LaRosa’s departure fromthe Godfrey clan, in slightly lessthan two years, had to do with thefact that the homey voicedpitchman wasn’t truly how heappeared to his 35 millionviewers. Indeed, the autocratictelevision host was simplyjealous. Except for a couple ofyears on television, performingwith a glee club, and singing insaloons, LaRosa lacked theexperience to convert hischarismatic raw talent into afully- fledged professionalshowman. For him, the stardomcame too easily. “I was scaredstiff! I didn’t know what I wasdoing! I was awed, bewilderedand totally unprepared!”

Within days of leavingthe Godfrey program, LaRosaappeared for the first of manyoutings on the Ed Sullivan Show.His appearance drew the highestrating of any Sullivan show up tothat time. LaRosa liked to tellabout a time when Sullivanannounced that his frequent guestwas scheduled to perform at a

Boston theater, including thearrival time in his broadcast.When LaRosa’s plane toucheddown at Logan Airport, therewere thousands of fans waitingfor him. Of the incident, LaRosasaid: “And then I went out and,literally, learned my job,” adding“You can’t learn it from a book;you can’t learn it any way but togo out on a stage and get yourface bashed in. Which is whathappened to me a lot of times.”

He continued to takevoice lessons, studied acting,made frequent appearances ontelevision shows such as those ofPolly Bergen, Jackie Gleason,Pat Boone, and Perry Como,filling in for Como during thesummer, eventually getting hisown three-times-a-weektelevision program in 1955. Heworked night clubs and didsummer stock, starring inproductions of Stalag 17 andCarousel. (Many years later, hewould go on to be nominated foran Emmy as Best SupportingActor for his role as a waiter inthe TV soap opera AnotherWorld). Somewhere along theway he found the time to courtand marry Rosemary Meyer,Perry Como’s secretary, and

father two children, daughterMaria and son Chris.

In 1969, LaRosareceived an offer to host anafternoon radio program onWNEW radio, which he did forthe next eight years. A naturallygifted raconteur, he was animmediate hit with thehousewives. Len Triola, whoprogrammed LaRosa’s radiobroadcast when he returned tothe same station in the 1980’s,

replacing Jim Lowe, has saidhow much he enjoyed workingwith LaRosa during that threeyear period. It was around thistime that LaRosa was asked tobecome part of a quartet whichincluded Margaret Whiting,Carol Woods, and MarleneVerPlanck. I RememberJohnny…The Magic of Mercer,opened at the 92nd Street Y andalso toured successfully. CarolWoods said that what aspectsreally stood out about LaRosawere “…his voice, his phrasing,and his sense of humor.Rehearsals were always fun andvery productive.” Pianist TexArnold, who accompanied bothWhiting and LaRosa for manyyears, said that he wrote a lot ofarrangements for LaRosa, who

never asked for a re-write, andthat he employed “idiosyncraticphrasing in ad lib passages whichcould be challenging for anaccompanist.” Like many in thebusiness, Arnold has maintainedthat LaRosa was “underrated andunder-recorded.” EchoingArnold’s sentiment precisely, thewriter Gene Lees said: “…in1996, Julie recorded a newalbum, it was his first in elevenyears. It’s a dark comment on themusic business that one of themost brilliant vocal talents in thehistory of the American song hasbeen so little documented onrecord.”

Speaking of FrankSinatra, LaRosa said: “He cameout of the era of dance bands, andthe singer had to stay within theframework of the meter. Despitethe restrictions, he was still ableto put a period there, a commathere, to heighten the meaning.And all he was doing was tellingthe story as he believed thosewords should be spoken. And sothose who grew up listening tohim didn’t copy him butrecognized the intelligence ofthat kind of interpretation.”Whitney Balliett, writing aboutLaRosa in 1987 said: “His workbears little resemblance now toFrank Sinatra’s. LaRosa’sphrasing is built closely aroundthe meaning of his lyrics. Nosinger has clearer diction. Hisvoice, a pleasing baritone, has aslightly mystifying quality.” DickSudhalter describing a LaRosainterpretation of a classicHammerstein lyric, wrote:“LaRosa delivers it all withrespect and easy charm. JuliusLaRosa does it…by letting it doits own talking.”

Julius LaRosa summedit up this way: “I love the thingsthe great songs say. I try to saythem the best way I know how. Ilike to sing a song so peoplereally hear the lyrics, so theylisten to the words and have thatmean something to them.” For a“kid from Brooklyn” he’s donethat and a lot more.

Linda Amiel Burns, APSS President, is celebrating the 39th year of The SingingExperience. A number of 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.

Midday Jazz Midtown continues on Wednesdays (1:00 PM to 2:00 PM) atSaint Peter’s Church (East 54 Street (entrance) @ Lexington Ave), NYC,Hosted by Ronny Whyte. Programs: June 1, David Chamberlain-Band ofBones; June 8, Harmonie Ensemble New York, Toshiko Akiyoshi – piano, LewTabackin – tenor sax & flute, Steve Whipple – bass, Tim Horner – drums;June 15, Dick Hyman – piano; June 22, Eyal Vilner Big Band; June 29, PattiDunham – singer, Gary Haberman – singer/pianist; July 6, Aaron Weinstein– jazz violin, Tedd Firth – piano; July 13, Geoff Gallante (14 years old) –trumpet; July 20, Jimmy Roberts – composer/pianist/singer; July 27, HilaryKole; August 3, Bucky Pizzarelli & Ed Laub – two guitars; August 10, DavidWhite Jazz Orchestra; August 17, Brian Charette’s Organ Sextette, BrianCharette – organ, Jochen Rueckert – drums, Brandon Wright – flute, MikeDiRubbo – alto sax, Kenny Brooks – tenor sax, Frank Perowsky – bassclarinet; August 24, Sheila Jordan – singer, Cameron Brown – bass; August31, David Hazeltine – piano, Sean Smith – bass. Suggested donation: $10.Parking: Icon Parking, East 51 St, between Third and Lexington Ave. $15including tax for five hours with validation @ Saint Peter’s reception desk.www.ronnywhyte.com/ www.saintpeters.org/jazz/midtownjazz.htm.

The count goes on! The latest edition of The Singing Experience, #477, willhave its performance at The Triad on June 14. For additional information,contact Linda Amiel Burns at 212-315-3500 or write towww.singingexperience.com. Stop procrastinating! Hundreds of singers havepaved the way for your debut. Sign up to sing! You’ll be glad that you did.

Carol J. Binkowski’s new book, Opening Carnegie Hall: The Creation and FirstPerformances of America’s Premier Concert Stage was just published byMcFarland & Company. Details are available at www.caroljbinkowski.com.

Ronny Whyte has a new CD: Nevertheless, the Kalmar & Ruby Songbook,featuring Warren Vache, Lou Caputo, Ben Sher, Boots Maleson & DavidSilliman. The brilliant album includes: “Nevertheless,” “Give Me the SimpleLife,” “Who’s Sorry Now,” “Three Little Words,” “A Kiss to Build a Dream On,”and “I Wanna Be Loved By You.” www.ronnywhyte.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 Boy Next Door,” “A Cottage for Sale,” “TheMan That Got Away,” and “Over the Rainbow.”

Do you seek an elusive song? If you do, write APSS Board member SandyMarrone @ smusandy@aol.com 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 resource anda super-great lady!

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.

Dennis Livingston’s debut CD The Stories in My Mind: The Songs of DennisLivingston, is the subject of a one-hour interview hosted by Jim Farley at theMusical/World Podcast website. The program includes a conversation aboutthe songs and his life as a cabaret/jazz songwriter, along with anecdotes abouthis songwriting father Jerry Livingston. The podcast can be heard atwww.musicalworld.us or the iTunes Store (write musicalworld in the searchwindow). CD can be purchased from CD Baby:http://cdbaby.com/cd/dennislivingston.

Bob Levy is out with a brand new CD – Connections, with lyrics by Bob andmusic provided by Harriet Goldberg, Alex Rybeck, Ronny Whyte, DennisLivingston, Jon Burr, Krisanthi Pappas, and the man himself Bob Levy. Thevocalists are Pappas, Dane Vannatter, Barbara Porteous, Ronny Whyte, JudiFigel, Joyce Breach, Matt Ray, Jinny Sagorin, and Jamey Whiting. The albumfeatures top musicians which include the Billy Novick Trio & Quartet.www.silkrivermusic.com, www.cdbaby.com.

Surprise! Author David Hajdu makes his songwriter debut with Waiting for theAngel, culminating a five year collaboration with esteemed multi-genrecomposers Jill Sobule, Fred Hersch, Renee Rosnes, and Mickey Leonard.Featured vocalists are Jo Lawry, Michael Winther, and Karen Oberlin, withmusicians Steve Wilson, Steven Bernstein, Charles Pillow, Peter Bernstein,Dave Eggar, Sean Smith, Carl Allen. www.mirandamusic.com,www.cdbaby.com.

Karen Oberlin & Sean Harkness have just released a new CD A Wish onMiranda Music. If you never had the opportunity to see their fantastic show,here’s a chance to hear what you missed. The album incorporates a mix ofstandards, as well as some lesser known tunes, but those with staying power:“More Than You Know,” “A Wish,” “Train in the Distance,” “Remind Me.”

The APSS newsletter is in need of members who have an interesting story totell about anything relating to American popular music. If it’s something you’denjoy doing, but you’re uncertain about whether or not it would be of interestto our fellow readers, please contact the Editor, Jerry Osterberg @osterbergg@aol.com or 516-248-7549.

Member News...

Send Member News to Osterbergg@aol.com 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: osterbergg@AOL.com. 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.

JUNE, 2016 AMERICAN POPULAR SONG SOCIETY PAGE 7

P.O. Box 5856PIKESVILLE, MD 21282

Did you know every issue of this newsletteris in COLOR online at www.NYSMS.org

American PopularSong Society

Our 2015-16 Season

May 14, 2016: Songwriter and APSS Board Member Tom Tocewill present his annual Singer & Songwriter Showcase. After thesuccess of The Harvard-Yale Cantata last fall, he’s been asked byStudio 54 to produce a second edition. Tom will provide members with

a taste of what’s to come with Emerging Songwriters from Yale, whose illustriousalumni include Porter, Rome, Leigh, Maltby, Shire, Yeston, and Guettel. The Yaletradition lives on among the younger unheralded songwriters. The performers willalso be Yale graduates, except for singer/songwriter Jennie Litt who attendedHarvard, and collaborator David Alpher.

October 10, 2015: Lush popular ballads, swing, latin beat, allwith lyricists such as Berlin, Porter, Lerner/Lowe, Hal David, LeonardCohen and even Todd Murray himself. With the support of piano,bass, jazz guitar, drums, and back-up vocals, CROON is not merely

a concert, it’s an experience. Todd connects with conversational lyrics set to heartfelttunes, and even though it is a public setting, he sings to you, and only you.

November 14, 2015: Will Friedwald A program ofsongwriters performing their own works, from the twenties to thesixties (maybe something more contemporary as well) RichardRodgers, Harold Arlen, Sammy Fain, Harry Warren, Cy Coleman,

Johnny Mercer (lots of Mercer), Hoagy Carmichael (lots of Hoagy).

December 12, 2015: Focus is on the 1947-'55 period in popmusic, post-Great American Songbook, pre-Rock and Roll. Presentationrevolves around Mitch Miller as the personification of the era. BenYagoda will illuminate this transitional period between the Great

American Songbook days that preceded it and the rock ‘n roll era that followed, with itssuperb American writers such as Carole King, Willie Nelson, Burt Bacharach...etc.

January 9, 2016: Julie Budd is considered to be one of themost exciting singers today. Winner of "The Broadway World Award"for Best Show "They Wrote The Songs", she has enjoyed a multi-faceted career that ranges from television to film, along with the NY

stage & symphonies all over the country. "The NY Times" raved in a glowingretrospect of Julie's career, declaring Ms. Budd "The Consummate Performer"

February 13, 2016: Peter Filicia in Conversation with RichardSkipper celebrating Peter's "The Great Parade: Broadway'sAstonishing Never-to-be-Forgotten 1962-1964 Season". Thisafternoon we will celebrate Peter's book with performances of the

songs that came from Broadway that season. Books will be for sale afterpresentation.

March 12, 2016: Join "Dinahphiles" Lynn DiMenna, MeredithDiMenna, Jeff MacAuley, Kimberly Hawkey, Margi Gianquinto and co-producer, Will Friedwald for a Dinah Shore Centennial Celebration ofthe life and music of "one of the best female pop singers of all time!"

Stories, hit songs and video clips will all be part of this timely and entertainingafternoon.

April 9, 2016: Sarah Vaughan was one of the greatest artistsever known in music. Respected by musicians across the globe, shewas known as the “opera star of the jazz world.” Join La Tanya Hallas she celebrates the life of this legitimate diva. From her earliest hits

to some of her more adventurous musical forays, Ms. Hall plumbs the depths ofSarah Vaughan’s musical legacy in this thrilling exploration of the Divine One.

June 11, 2016: Called “the Groucho of the violin” by TonyBennett and “a perfect musician” by jazz guitar legend, BuckyPizzarelli, Aaron Weinstein “is rapidly establishing himself as one ofhis instrument’s rare jazz masters.” Aaron is the recipient of a New

York City Nightlife Award and New York City Bistro Award. He is a graduate of theBerklee College of Music where he was awarded a full four-year talent-basedscholarship.