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appearing in a-number-ofGilbert & Sullivanproductions, essentiallyextending an impressiveresume of operetta and
musicals, including TheStudent Prince, The Yeomanof the Guard, Princess Ida,The MusicM a n ,O k l a h om a ,The MerryWidow, andThe Pirates ofP e n z a n c e .Given herextraordinaryvoice, range,a n dp e r f o rm i n gskills, it was inevitable thatShana would come around toBarbara Cook.During her ten year long
career in cabaret, beginning
with her debut at the LaurieBeechman with PureImagination, Shana Farr hasbeen a welcome presence,staging other productions
such as Whistling Away theDark: The Songs of JulieAndrews, In the Still of the
Night, whichwon a BistroAward in 2015,the inspiredLove Poetic,and currently,It’s Not WhereYou Start: TheSongbook ofBarbara Cook. Supported
by the superbaccompaniment of MarkJanas, Shana’s well-conceived structure wovemany of Barbara Cook’sbest-known triumphs and
MARCH 2019www.APSSinc.org
Newsletter
VOLUME 40, NUMBER 6 Formerly New York Sheet Music Society
By Jerry Osterberg
Continued on page 3
Some years before I sawShana Farr’s celebratedtribute to Julie Andrews at theMetropolitan Room, aprogram she later reprised atthe New York Sheet MusicSociety, as we were thenknown, I heard her perform ata concert staged by theVillage Light OperaCompany. Although I wasn’ta passionate fan of Gilbert &Sullivan, I attended theirprograms from time to time.VLOG’s practice was toalternate G & S withBroadway musicals includingconcert versions. One ofthese was a revue focusing onsongs which had emergedfrom theater productions tostand on their own, becomingthe building blocks of theGreat American Songbook. Having been introduced
to the magnificence of JohnMcGlinn’s lovingly recreatedmusicals twenty years earlier,I came to adore the music ofJerome Kern. On the day ofthe VLOG event, theprogram included “All theThings You Are,” featured inKern’s Very Warm for May, tobecome one of the best lovedsongs of all time. To my greatjoy, the VLOG orchestrationincorporated OscarHammerstein’s extendedverse, as had McGlinn’s,providing Shana Farr theperfect opportunity to shine. Shana was a member of
the Village Light Opera,
others not as well known,with informed narration andinsight. Interestingly, Cookand Farr had both appeared insome of the same musicals,among them The Yeoman ofthe Guard, The Music Man,and Oklahoma. BeforeBarbara Cook became widelyknown for The Music Man(“Goodnight, My Someone”and “Till There Was You”),she starred in Plain andFancy (“This is All Very Newto Me”) and Candide(“Glitter and Be Gay”).Besides two additional playsshe opened, The Gay Life (“IWouldn’t Marry You”) andShe Loves Me (“Ice Cream”),Cook appeared in revivals ofOklahoma (“I Can’t SayNo!”), Carousel (“If I LovedYou” and “You’re a QueerOne, Julie Jordan”), The Kingand I (“Hello YoungLovers”), and Showboat(“Make Believe” and “Can’tHelp Loving That Man”).After a decade long
absence, Barbara Cookreturned to singing,beginning a thirty-yearcollaboration with WallyHarper. As her arranger andmusical director, heencouraged her transition tothe concert stage, startingwith a debut at Carnegie Hallin 1975. She was aconsummate concertperformer from then on,traveling the world withHarper until his death in
Shana Farr: Living Inside a Song - An Appreciation of Barbara Cook
Shana Farr
Photo by Rose Billings
Barbara Cook
Hi Gang,
Greetings from sunny Mexico! I am writing this message fromPuerto Vallarta, where I went to escape the cold winter for a few weeks. I am lookingforward to the March meeting with Ron Fassler, which Board Member Sandi Durellis producing. As a matter of fact, I have just spent some wonderful time with Sandiand friends in “Paradise,” and will be back in the city in a few days after my R&R!
You will be able to say you saw her at APSS when she wasjust starting her career! We expect great things from the talentedsinger Hannah Jane Peterson, who was our February meeting’sopening act. It is thrilling to be able to introduce youngdiscoveries to our membership: gifted performers who love thegreat songs of the past who will help to keep good music aliveand growing!I cannot thank the beautiful Shana Farr enough for her
sensational tribute to Barbara Cook. It was a joy to see herremarkable performance last month, and to hear the incredible comments wereceived. With the brilliant Mark Janas at the piano, and Shana’s lovely vocals, weshared an unforgettable afternoon. We were all moved by the show, learned so muchabout Ms. Cook’s artistry, and are truly grateful that these gifted performers sharedtheir talents with us. You can read all about our wonderful February Program in thisissue, and see some terrific photos by Rose Billing. Many thanks also to MaryannLopinto who expertly videotapes our one-of-a-kind presentations for the APSSarchives. Please remember to check the Newsletter & the Website and make note of the
change in this season’s dates, as the April and June meetings will be held the THIRDSaturday of the month, and not the second, as usual. Local 802 has special eventsbooked for theirmembership, and we areglad we were able toarrange the change withthem.I am eager to see you
all at the March 9thmeeting, and am hopefulthat by that time, Springwill be just around thecorner!
PAGE 2 AMERICAN POPULAR SONG SOCIETY MARCH, 2019
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 OsterbergAndrew PoretzJudy 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 Adams
[email protected] Designer: Glen Charlow
Glen Charlow with Shana Farr
Best wishes,
Photo by Rose Billings
Hannah Jane Peterson
Opening for APSS onFebruary 9, and supportedbeautifully by Mark Janas, shemade another striking debutmuch to the delight of theaudience. The latest of ouryoung hopefuls, Hannahimpressed with both her songsand vocal ability. She openedwith “A Cockeyed Optimist,”moving on to “SomewhereThat’s Green” from Little Shopof Horrors, “I Hold You in MyArms,” and “Johnny One Note,”introduced in the Rodgers &
Hart Broadway musical Babes in Arms and later performed byJudy Garland in the biopic Words and Music. Hannah Janeended her fast-paced program with “You’re Gonna Hear fromMe,” an appropriate choice for a young woman whosefuture is bright.
2004. Cook appeared with theNew York Philharmonic in theconcert version of StephenSondheim’s Follies in 1985,inhabiting the devastatingtorch song “Losing MyMind,” opening an emotionalconnection to Sondheim’smusic that was evident for theremainder of hercareer. Indeed, it’sdifficult to imaginesuch songs as “Sendin the Clowns” and“Not a Day Goes By”without the passion ofBarbara Cook’svoice.
Jon Weber,who’s accompaniedShana Farr for manyyears, once askedrhetorically, referringto Shana “How doesshe do it? Where does thatvoice come from?” Jon may aswell have been talking ofBarbara Cook. Cook may ormay not have been a rolemodel for Farr, but it’s clear
that the younger singer gets it.She appears to have a kinshipwith the senior performerwhich belies her years. WhileShana had great fun with “ICan’t Say No!” and “IceCream,” she captured thegentle tenderness in“Goodnight, My Someone”and “If I Loved You” and full-throated emotion of “Not aDay Goes By,” “Losing My
Mind,” and especially “HelloYoung Lovers,” underlying itsheart-breaking elements.
A few years ago,Shana Farr remarked “I love toshare my love and passion for
music,” a sentiment quiteevident during her program forthe members of the AmericanPopular Song Society onFebruary 9. For those whocouldn’t attend the meeting,you can hope that she’ll bringback the show. And, if anyoneneeds a demonstration of heracting skills, Love Poetic,containing both music anddialog, fits the bill perfectly.
Every word and lyric of thesuccessful production camefrom the songs of NoelCoward and Cole Porter, alongwith much hard work byShana in making it seamless.
There’s also her recent albumOut of the Shadows, whichfeatures the songs of JohnnyMercer, Henry Mancini,Anthony Newley, FrankWildhorn, Noel Coward, andIrving Berlin.
MARCH, 2019 AMERICAN POPULAR SONG SOCIETY PAGE 3
Shana Farr....Continued from page 1
Hanna Jane Peterson may only be seventeen, but she isclearly an “old soul” in her choice of material and role models,notably Rosemary Clooney, Ethel Merman, and Judy Garland.Had she been around in the glory days of Broadway musicals,Hannah would have been on Frank Loesser’s short list basedon the strength of her strong voice. After placing as the first runner-up of the Adela and Larry
Elow American Songbook Scholarship Competition,sponsored by the Mabel Mercer Foundation, she made hercabaret debut at the Laurie Beechman, with KT Sullivan as herDirector and Jon Weber as her Musical Director. Hannah hasalso performed a solo show at Don’t Tell Mama. For the timebeing, she continues in her day job, attending the ProfessionalPerforming Arts School in New York City.
Hannah Jane Peterson:You’re Gonna Hear from Me
Photos by Rose Billings
Mark Janas
By Jerry Osterberg
jazz, was the first to be designated as“King” Bolden, around the turn of the20th century. Seeing an opportunity forpublic relations, Bolden’s contemporary,the violinist Alex Watzke began to billhimself “King Watzke,” milking thedesignation for commercial gain. But thedirect successor to Bolden’s honorificcrown was cornetist Freddie Keppard in1907, who passed the crown to JoeOliver, another cornet player andbandleader, in 1914. Oliver was regardedas jazz king well into the 1920s, even asPaul Whiteman began to bill himself –not without controversy – “King of Jazz.”Whiteman’s title was actually a 1923publicity stunt, cooked up by a musicalinstrument manufacturer that thebandleader endorsed. But because of
Whiteman’s widespread fame, the titlestuck. Kings that were to follow into the20th century included saxophone player,King Curtis (Ousley), vocalist KingPleasure (Clarence Beeks) and, of course,Nat King Cole. In these cases the “king”designation became the stage names ofthe performers. Other famous kingsincluded Artie Shaw, “King of theClarinet;” Benny Goodman, the “King ofSwing;” Louis Jordan, “King of theJukebox;” and Django Reinhardt, “Kingof the Jazz Guitar.”The great Edward Kennedy
Ellington, the Duke, received his titlebefore his music career. Elegant even as achild, a neighbor remarked he was like a“little Duke” and the name stuck. CountBasie became such when a radio
PAGE 4 AMERICAN POPULAR SONG SOCIETY MARCH, 2019
Jazz Royalty – What’s In a Name?By Marilyn Lester
In advance of April’s designation asJazz Month, here’s a bit of nomenclaturetrivia. You’re probably aware of some ofthe nicknames common among jazz
musicians, such as Duke Ellington.Ellington’s Famous Orchestra was full ofplayers with nicknames. Johnny Hodgeswas known as “Jeep” or “Rabbit,” whileBilly Strayhorn was “Swee’ Pea.” Therewere also Joseph “Tricky Sam” Nanton,William “Cat” Anderson, Harold“Money” Johnson and James “Bubber”Miley, to name some others. Nicknameswere not peculiar to Ellington’s band.Piano master Willie Smith was called“The Lion.” Louis Armstrong was“Dippermouth,” “Satchmo” and “Pops.”Eddie Davis was “Lockjaw,” while OranPage became “Hot Lips,” and so on.But the grandest nicknames of all
were those of jazz royalty, ideallybestowed upon the most gifted musicians,a practice originating in New Orleans atthe dawn of the 20th century. This was theperiod of ragtime, the syncopatedrhythms of which, along with the blues,developed into jazz (or jass, as it was firstspelled). The naming of jazz royalty mayderive from Mardi Gras. Around 1872,the Krewes – secret societies that ranparades and balls in the city – beganinstalling “Kings” on their floats. TheKing of the Rex Krewe became the Kingof the entire Mardis Gras. Cornet player and bandleader,
Charles Joseph “Buddy” Bolden,considered by many to be the father of
announcer wanted to give Basie’s bandsome style. William James Basie thusbecame the Count. Bass player CharlesMingus became known as the Baron. Onthe distaff side, Billie Holiday wasknown as Lady Day and Ella Fitzgeraldas the “Queen of Jazz” (she was alsocalled “The First Lady of Song”). More exotically, pianist Oscar
Peterson was dubbed “The Maharaja” (ofthe piano) by none other than DukeEllington, while saxophonist FarrellSanders became Pharoah. Otherhonorifics in jazz centered on divinity orcivics. Sara Vaughan was “The DivineOne,” Thelonius Monk “The High Priestof Bop,” Nina Simone “The HighPriestess of Soul” and pianist Art Tatumascended to the heights of being calledGod. While he was also a king, BennyGoodman was also known as “Swing’sSenior Statesman.” Bassist Milt Hintonwas “The Judge” and fellow bassistEugene Wright “The Senator.” Finally, atthe top of the political tree was LesterYoung, the great saxophonist who wasknown as “The President,” or just Pres orPrez, for short. For each and every one ofthese remarkable musicians, theirrespective titles still stand and are welldeserved.
Linda Amiel Burns, APSS President, is celebrating four decades ofThe Singing Experience. Several APSS members have taken thisworkshop, some more than once. For those of us who have, wecan assure you that you’ll feel like a pro by the night of theperformance. Although many students have never sung in publicbefore, the supportive environment has prepared them well for theirdebut. Call Linda at 212-315-3500 to sign up. The SingingExperience Cable TV show continues on MNN Time Warner:Channel 56 or RCN: Channel 111. The program broadcasts areevery Sunday at 5:00 PM. You can also see your fellow NYSMSmembers on YouTube at any time.
Linda is back from vacation, feeling rested, and is about to welcomein the Spring with a new edition of The Singing Experience. Classesfor Ain’t We Got begin on April 16, and continue April 23, April 30,and May 7. Performance scheduled for May 14 Contact Linda foradditional info. at 212-315-3500 or [email protected].
Midday Jazz Midtown continues Wednesdays (1:00 PM to 2:00 PM)at Saint Peter’s Church (East 54 Street (entrance) @ LexingtonAve), NYC, Hosted by Ronny Whyte. March 13, Luiz Simas –singer/pianist, Wesley Amorim – guitar/guitarlele; March 20, AmyLondon – singer; March 27, Harold Mabern – piano; April 3, BenCassara – singer. Suggested donation: $10. Parking: Icon Parking,East 51 St, between Third and Lexington Ave. $15 including taxfor five hours with validation@Saint Peter’s Reception Desk.www.ronnywhyte.com www.saintpeters.org/jazz/midtownjazz.htm.
KT Sullivan, accompanied by Jon Weber, will present her latestshow I Can Cook, When Barbara Met Wally, at the Birdland Theater,315 West 44th Street, on Wednesday through Saturday, February 27to March 2 at 7:00 PM. For reservations: 212-581-3080 orwww.birdlandjazz.com.
Steve Ross reports that the classic radio interview show New YorkCabaret Nights, which was broadcast on WNYC, can be accessedanew by going to https://www.wnyc.org/series/new-york-cabaret-nights.
MARCH, 2019 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 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.
Liora Michelle: The Greedy Soprano, will play a return engagementat Don’t Tell Mama on Friday, March 8 @ 7:00 PM. Admission is$15 or $10 for APSS and MAC members plus a 2-drink minimum,cash only. For a preview, see the Cabaret Scenes review of Liora’sshow in January.
If you missed Andrew Poretz’s well-received performance atParnell’s, with Bill Zeffiro, on January 10, there’s a chance to catchhis fabulous act on Thursday, March 7, beginning at 7:00 PM.
Board member Marilyn Lester is now the Executive Director of thenew nonprofit American Songbook Association (an outgrowth of theCabaret Scenes foundation). The mission is publishing themagazine, bringing the music into the schools and providing quality,low-cost performances to senior citizens, students and all wholove songbook music. Please checkout www.americansongbookassociation.org
Do you seek an elusive song? If you do, write APSS Board memberSandy Marrone @ [email protected] or call 856-829-6104. Youcan also visit Sandy in New Jersey to see thousands and thousandsof sheets of music, most of which can be yours very reasonably.She is a marvelous resource and a super-great lady! Having heardfrom only a few of our members over the past year or so, Sandywants to remind you that she’s still at it, adding to her collectionevery day, and always willing to part with sheet music at especiallyfair 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-mailaway. Sandy continues to be willing to offer free appraisals with noexpectation of having right of first refusal and can provide unbiasedadvice as to how and where to sell music. It’s not a secret, pass iton please.
In November 2009, to celebrate the centennial of songwriter/singerJohnny Mercer, Minneapolis radio personalities David Cummingsand Les Block produced and broadcast a 100th birthday tribute toMr. Mercer. The show features original interviews with adistinguished roster of Mercer-connected performers and writers,showcasing recordings of Mercer songs sung by the guests andpresenting valuable comments on the songs and on the man.Among the more than twenty celebrities interviewed were TonyBennett, Johnny Mathis, Andy Williams, Kay Starr, Nancy Wilson,Robert Kimball, Barry Manilow and Margaret Whiting. Sadly, ourinterview with Miss Whiting was her last. The show is being archivedby the Library of Congress which acknowledged that “…it would beimpossible to produce a work of this quality on Johnny Mercertoday.” The entire show can be heard online at the followingURL/web address: https://archive.org/details/mercer100/ksav-mercer-1.mp3 OR johnnymercer100:davidcummingsandlesblock
October 13, 2018Alex Leonard presents Harry Warren
November 10, 2018Alan Jay Lerner with Amy Asch,
KT Sullivan and Mark NadlerDecember 8, 2018
Celebrating Frank Sinatra on his birthday withclips and songs
January 12, 2019The Anderson TwinsFebruary 9, 2019
Barbara Cook show by Shana FarrMarch 9, 2019
Ron Fassler: Up In The Cheap SeatsApril 20, 2019
Celebrating Jazz MonthMay 11, 2019
Songwriter ShowcaseJune 15, 2019
Richard Skipper Celebrates June 8th in Song
P.O. Box 5856 • PIKESVILLE, MD 21282
Did you know every issue of this newsletteris in COLOR online at www.APSSinc.org
American PopularSong Society
2018 - 19 Season
MARCH 9th-RON FASSLER: UP IN THE CHEAP SEATSis an accounting of a teenager's fascination withtheater, the shows and stars he got to see, byscrimping and saving and getting to see the best foras little as $2 a ticket. In the 60's/70's he had a $10a week allowance and boy did he make that moneygo a long way! He recounts, with humor, manybackstage anecdotes, tales of numerous celebs hemet on the Great White Way, bringing some ofhis favorite singing artists along to make it comealive. Ron Fassler is a TV and film actor, directorand author. Ron Fassler's special guest will be JeffMcCarthy (Side Show, Urinetown) in addition toBroadway singers Michael Caizzi, Michael Kurzniecand Payton Reilly. You'll hear songs from Company,Follies, Promises Promises and I Do, I Do!!
Bryce Edwards was last seen in 'BroadwayVagabonds' with Quintin Harris in the NarniaInternational Festival in Narni,Italy. Heattends Baldwin Wallace Universitypartnered with Cleveland's Great LakesTheatre. He is currently in BW's 'As You Like
It' playing Touchstone. He thanks Natalie Douglas for thisopportunity at APSS. See him 6/17 at The Tank!
Quintin Harris is a singer, jazz pianist, actorappearing recently in 'Our Town' as GeorgeGibbs. In 2018 he performed in The GothamJazz Festival after a week at NY Hot JazzCamp directed by Bria Skonberg and MollyRyan. He's returning on full scholarship this
year. Quintin looks forward to reuniting with Bryce atGreat American Songbook Project (Waterbury SymphonyOrchestra) directed by the incomparable Natalie Douglas.
March Openers
*They are both accompaniedby Renée Guerrero (Pianist)
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