Dark Monday • On The Twentieth Century

Eighty years ago, in 1934, a movie was released by Columbia Pictures. 'Twentieth Century' was directed and produced by Howard Hawkes, starring John Barrymore and Carole Lombard. The screwball comedy was a tale of Hollywood shenanigans, set on a transcontinental train. Based on a 1932 play of the same name by Ben Hecht and Charles MacArthur, who adapted it for the screen. The movie was a delightful romp, but had really been forgotten. But not by everyone. Betty Comden and Adolph Green remembered, so much so they decided to write the book and lyrics, They wanted Cy Coleman to join them, but he was unsure he wanted to write a show highlighting the music of the Jazz era of the 1920s. But once he learned about the show, he was on board. Instead of being light musical fare, he felt it was more of a comedic opera, which intrigued him. The cast featured John Cullum, Kevin Kline, Imogene Coca, and rising star Madeline Kahn.

(l to r) Kevin Kline, Madeline Kahn, composer Cy Coleman, lyricists Adolph Green and Betty Comden, John Cullum, Imogene Coca, and musical director Paul Gemignani.

The book tells a story of Producer Oscar Jaffee, who is down on his luck and looking for his next project. To help with funding, he pursues Lily Garland, and actress he discovered years before. She is now a Hollywood star, and dating heartthrob Bruce Granit. He hopes to convince her to drop Hollywood and Granit, and return to Broadway in his new production, 'The Passion of Mary Magdalene'. Along the way we get to meet the porters, conductors, Hollywood characters, and religious zealots, all making for an excellent Operatic farce. The production was nominated for nine Tony Awards, with one for Best Musical. The show won five of the nine Tony Awards, including ones for John Cullum and Kevin Kline. This is the performance from the 1978 Tony Awards, the title song. The performance features stars Cullum, Kline, and Coca, as well as Judy Kaye in the leading role.

Nine weeks after opening, Madeline Kahn left the show, and her understudy, Judy Kaye took over the lead role of Lily Garland. The official press release stated Kahn left the show because of damage to her vocal chords. Rumors floated about her being fired for being tough to work with. Years later, costar John Cullum, stated that composer Cy Coleman did not get along with Kahn, and the production on a whole didn't treat her with the respect she was due. He felt she was magical on stage, and was sad she was lost by the production. I thought I would bring you a song by Kahn, one of my favorites off the Broadway Cast album, which I purchased and fell in love with. The song allows the audience to share the moment Jaffee discovered Mildred Plotka. While auditioning a fading star, Oscar asks the accompanist, Plotkin, to sing the song "Veronique", about the French heroine who refused to sleep with Otto Von Bismark, starting the Franco-Prussian War. He found a star, and gave her a new name. She would be known as Lily Garland. This is Madeline Kahn singing "Veronique".

In an odd move, when Kaye was put in place, the producers invited the press back to the show, as if it was a second opening night. They also submitted Judy Kaye for a Drama Desk nomination, not original star Kahn. Kaye got great reviews, and The New York Times even said she was "bang, boom, overnight she is a star star". Kahn had much success in films, like 'What's Up Doc?' starring Barbra Streisand and Ryan O'Neal, as well as the Mel Brooks' comedies 'Blazing Saddles', 'Young Frankenstein', and 'High Anxiety'. She was nominated for an Academy Award for her roles in 'Paper Moon' and 'Blazing Saddles'. You can purchase 'On The Twentieth Century' from iTunes and Amazon. For several years, there has been talk of a revival. It is said that the show will be remounted by the Roundabout Theater Company, starring Kristin Chenoweth and Peter Gallagher, beginning previews in February of 2015.

Sarah Vaughan in Sweden

I have long enjoyed the amazingness that is Sarah Vaughan. The singer, also known as Sassy, was not only popular with record buyers, but also record makers. Singers like Frank Sinatra envied the singer, having been quoted once as saying, "Sassy is so good now that when I listen to her I want to cut my wrists with a dull razor." Her career began in either late 1942 or early 1943, when she won an Amateur Night competition at Harlem's Apollo Theater. Soon she was opening for Ella Fitzgerald, and working with Earl Hines and Billy Eckstine. It was only a matter of time before she was out front and center, a headliner herself. In 1964,, Sassy had a show in Sweden, recorded for television. She sang some incredible songs, a few of which I will bring to you tonight. The first of which is a song written by 1954 by the pianist Erroll Garner, with lyrics later written by Johnny Burke. This is Sarah Vaughan singing the classic song, "Misty".

I thought I would lighten the post a bit with a song written in 1929 by Fats Waller, with lyrics by Andy Razaf. Waller's 1934 recording of "Honeysuckle Rose" has been placed in the Grammy Hall of Fame. The song is a delightful love song, and when it is in Sassy's hands, it is even lighter and sweeter. I hope you enjoy Sarah Vaughan singing "Honeysuckle Rose" as much as I do.

The next video features a popular song from the 1953 musical 'Kismet', written for the show by Robert Wright and George Forrest. The show was said to be inspired by the music of Russain composer Alexander Borodin. "Baubles, Bangles, and Beads" was a big hit in 1954 by the great Peggy Lee, but seems like a perfect choice for Vaughan. The song, with the complex melody line and structure, allows her voice to move effortlessly over the musical terrain, making for a wonderful aural journey. This is Sarah Vaughan singing "Baubles, Bangles and Beads".

"The More I See You" is a popular song written by Harry Warren, with lyrics by Mack Gordon. The song was published in 1945, and has been a standard for many singers ever since. Both men and women lined up to sing it, and that is what they did. While many took it on, few gave it the nuanced touch delivered by Vaughan. I think this is a perfect way to end the post tonight. Pleasure enjoy Sarah singing "The More I See You".

You can find the music of Sarah Vaughan anywhere great music is sold. There are plenty of song collections from which to choose, but in my experience, you cannot go wrong with Sarah. For example, you can find 'Sarah Vaughan's Golden Hits' on both iTunes and Amazon. And have a great weekend!

Dark Monday • Remembering Shirley Temple (1928 - 2014)

With the passing last week of Shirley Temple, I couldn't help but think back to my youth when I would spend weekends watching old black and white movies, several featuring the adorable young Shirley Temple. I remember being enchanted with her cute face, and her ability to tap dance and to sing. although many of the films were made 25 years before I was born, they still spoke to me in much the same way the Judy Garland and Mickey Rooney movies did. The movies had charm and sweetness, even if many told the same story. But when I was thinking about this post, I knew what I was looking for, and could sing along with the songs, all these years later.

While it might not be true now, when I was growing up, I think everyone could sing "On the Good Ship Lollipop", Shirley's great number from the 1934 film 'Bright Eyes'. The song was composed by Richard A. Whiting and the lyrics were supplied by Sidney Clare. The story was a classic one - a career-riented bachelor finds out he has a godchild who needs a home, and he resists. But somewhere along the way, he succumbs to Shirley's charms, and can't live without having the orphan with him. The movie featured the song "On the Good Ship Lollipop".

It might sound funny, but this is another song I think everyone knew, and was sung all the time, whether it was meant with warmth or with sarcasm. "Animal Crackers In My Soup" is a great musical number from the 1935 film, "Curly Top". The lyrics were written by Irving Caesar and Ted Koehler and the music by Ray Henderson. Again Shirley played an orphan looking for a home, and found a career-minded bachelor who gets involved with her life, and this leads to a happy ending. But when you have Shirley singing "Animal Crackers in my Soup", how could it lead to anything but a smile?

With her hair done with big curls flopping around her face, it is Shirley who is the title character of 'Curley Top'. She was cute and precious, and kept all the kids watching. She had a second hit from the film, as "When I Grow Up" did quite well in sales. The song was written by Ray Henderson. In the film, we got to see this adorable little girl go so far, and still be the same cutie we knew her to be. This is Shirley Temple singing "When I Grow Up".

I can literally remember sitting in front of the console TV and watching the final film featured tonight. While she might have been a few years old when filming the 1938 hit 'Rebecca of Sunnybrook Farm', she was still cute and talented enough to make it work well. Once again, Shirley played an orphan, one who had won a talented contest. She was discovered by a career-minded bachelor, who became her champion, alongside her aunt, who must battle with an evil stepfather to save Shirley from a sad fate. But this tale also gave Shirley sever musical numbers, including one with the great Bill Bojangles on "The Toy Trumpet", a number written by Raymond Scott, Sidney D. Mitchell and Lew Pollack.

Shirley Temple did not transition well from child star to working actress. She retired from acting at the age of 22. She went on to have a family, and eventually entered into the public eye again, this time as a public servant. She was a delegate to the United Nations, and later was named ambassador to Ghanna and Czechoslovakia. A life-long Republican, she was named to those posts by President Richard Nixon, President Gerald Ford, and President George H. W. Bush, respectively. Shirley Temple was 85 years old when she passed away on February 10, 2014.

Spencer Day • My Funny Valentine

Handsome, talented, and busy, being on tour in the Philippines didn't deter the Jazz stylist from offering a little something special to his fans in time to Valentine's Day. Spencer did a live version of "My Funny Valentine", the great song by Richard Rodgers and Lorenz Hart from the 1937 musical 'Babes in Arms'. Here is Spencer singing the iconic Jazz standard.

To learn more about Spencer Day, visit his official website. You can also 'like' him on Facebook and 'follow' him on Twitter. Be sure to check out his touring schedule, and if he is playing near you, get your ticket early. Seeing Spencer performing live is a treat you will not soon forget. His music is also available online, and you can find it on iTunes and Amazon.

Dark Monday • Cole Porter

On June 9, 1891, a baby boy was born in Peru, Indiana. The only child of a wealthy family, Cole Porter was expected to take a more traditional job, much like his father, a druggist, or his grandfather, J.O. Cole, for whom he was named. But Porter had started music lessons when he was quite young, at the insistence of his mother. Before long, Cole Porter knew he wanted to pursue a career in music, something that disappointed his father and grandfather. After completing high school, Porter left Peru, never to really return.

Porter went to a private school in Massachusetts, before going to Yale in 1909, where he had a very successful education. Not only did he major in English and minor in French, he also was a member of a fraternity, as well as being a contributor to 'The Yale Record'. Not surprising, he was also a member of the glee club, and became a member of the Whiffenpoofs, an a capella singing group quite well known. After graduating from Yale, he followed the direction of his grandfather, and enrolled in Harvard Law School. This did not last long, and soon he transferred to the School of Music, unbeknownst to his grandfather. It is said Dole had written over 300 songs while at Yale, and in 1915, he heard his first song on Broadway, as "Esmeralda" was featured in the revue 'Hands Up'. In 1917, Cole moved to Paris, France, and served in the French Foreign Legion. He also lived an excessive life, with big parties. Those parties included men that were known to be gay, bisexual, as well as some cross-dressers. It was also said there was plenty of alcohol and drugs available. Sounds like there were hot time in 'Gay Paree'!

While in Paris, Cole met Linda Lee Thomas, a beautiful and well-connected divorcée. They were married in 1919, and remained good companions until her death in 1954. It was said she understood Porter's sexuality, but the marriage offered both a stability and friendship that worked for both. Soon his music was being heard in Europe, and in the states as well. And while he was having success with his music, it wasn't until 1928 that Cole Porter had his first bona fide Broadway hit, the musical 'Paris'. The score of 'Paris' included a song that soon became a big hit as well, with singers lining up to sing it. But I think it is always fun to go back to the source, so here is Cole Porter singing "Let's Do It, Let's Fall In Love".

While 'Paris' was playing on Broadway, Porter had another show playing in London. 'Wake Up and Dream' was a musical review that had many songs from Porter, including the most popular song in the show, "What Is This Thing Called Love?". The song quickly became a favorite of Jazz performers, all eager to record this great song, one that managed to be sweet and flirty at the same time. This is Cole Porter's recording of "What Is This Thing Called Love?".

Porter wrote the score for what was to be Fred Astaire's final Broadway show, the 1932 hit 'Gay Divorcée'. It was also the his first show without his sister, Adele, who had retired from show business. But, most importantly, the show featured the song "Night and Day", one of Porter's most popular songs. While it has been recorded by many, it was the first recording by Astaire that went to #1. Astaire also starred in the film version released in 1934, costarring with Ginger Rogers. While Astaire's version is well known, I bring you Cole Porter singing the great "Night and Day".

Cole Porter wrote countless hits over the span of his career. As a tribute to the talents of the man, so many artists recorded complete albums of his songs, like Ella Fitzgerald, Mabel Mercer, Julie London, Anita O'Day, and John Barrowman. And there was also the 1990 album 'Red Hot + Blue: A Tribute To Cole Porter', a compilation of Pop artists of the time who recorded songs to raise money for HIV/AIDS charities. And those are just the albums in my personal collection! Porter passed away in 1964, at the age of 73. During the final 6 years of his life, medical issues, including the amputation of his leg, prevented him from writing any more music. Porter is buried with family in Peru, IN.

Dark Monday • Gold Diggers of 1933

A young Ginger Rogers is featured in the opening number of the Warner Brothers musical 'Gold Diggers of 1933. The movie also starred Aline MacMahon, Joan Blondell, Ruby Keeler, and Dick Powell. The movie was a classic Hollywood tale of a Broadway show trying to make it to the stage, the money struggles from the Wall Street Crash and the Great Depression taking a toll. Rogers sings the opening number, introducing the iconic "The Gold Diggers' Song (We're In The Money)" to the public. The song, with lyrics by Al Dubin and the music by Harry Warren, celebrates America coming out of tough time, with a renewed happiness for all. Although I must point out, the true recovery didn't happen for a few more years. This is a special performance, as it even includes some Pig Latin! I hope you enjoy this Tin Pan Alley classic, complete with choreography only Busby Berkeley could put together as Ginger Rodgers sings"The Gold Diggers' Song (We're In The Money)".

In a highly unusual decision, the movie ends with a stunning Joan Blondell and Etta Moten singing "Remember My Forgotten Man", a stirring and moving song about the men who got lost in the Depression, losing jobs, many of whom had fought in World War I a decade before and were awarded certificates for a bonus that would not be paid until 1945. This political statement at the end of an otherwise light and frothy studio musical was a real surprise. Also the use of Etta Moten, a beautiful classically trained vocalist, who at the beginning of 1933 became the first African American singer to perform at the White House. This is really quite a nice surprise, so I hope you enjoy "Remember My Forgotten Man".

The Platters • Smoke Gets In Your Eyes

For this fine Saturday morning, I thought I would take the opportunity to plug the post coming tonight. This evening, I will be celebrating the music of Jerome Kern, and he just also happened to write the music for "Smoke Gets In Your Eyes". The song was written for their 1933 musical 'Roberta', with music by Kern, and lyrics by Otto Harbach. The song was introduced by Tamara Drasin on the Broadway stage, and originally recorded by Gertrude Niesen in 1933. It has been sung by many, and adapted to several styles. That would include traditional Pop from the 1950s when it was recorded by the group, The Platters. Their 1958 recording went to #1 on the Billboard Hot 100, and #3 on the R&B charts. Please enjoy The Platters in a live performance of "Smoke Gets In Your Eyes".

If you enjoyed this, remember to to stop back tonight for more music by Jerome Kern!

Dark Monday • Blue Moon

Richard Rodgers, left, and Lorenz Hart, right.

A song can have a life that extends far beyond what might have been the plans at the time it was first written. Richard Rodgers and Lorenz Hart wrote "Blue Moon" in 1933, commissioned by MGM to write for the proposed movie, 'Hollywood Party'. They envisioned it as a song for Jean Harlowe, and young girl saying her prayers, hoping to find stardom in Hollywood. This never came to be, so the song was recycled for another film, 'Manhattan Melodrama'. Hart had rewritten the lyrics for the new project, and it was sung by Shirley Ross. The film was released in 1934.

Surprisingly enough, "Blue Moon" was not a hit, and might have been forgotten. But the executives at MGM felt the song could be a hit if it had more romance, and so once again Lorenz Hart went back to the drawing board, to give the song the third set of lyrics. Instead of a coy prayer that asked "Oh Lord, make me a movie star", he came up with lyrics that are much more familiar today. "Blue moon, you saw me standing alone, without a dream in my heart, without a love of my own". It seemed to have worked, for soon artists were lining up to sing the song, and it became a hit. This is Mel Tormé's 1949 recording, making it to the Top 20 on the charts.

In 1961, the song was recorded by a group out of Pittsburgh, The Marcells. They were a Doo-wop group, a sound that was ever-so-popular back then. They decided to change up a classic, and decided that song would be "Blue Moon". They took the romantic love song almost 30 years old, and put on the new sheen of a Doo-wop jacket, and a new generation began to love the song. The song went to #1 on the Billboard Hot 100, and stayed there for three weeks. This is The Marcells singing "Blue Moon" live.

So it just goes to show you, great music can live forever.

Songs From the Hart • Rodgers & Hart

Clockwise: Anita O'Day, Barbara Cook, Dinah Washington, and Peggy Lee.

Richards Rodgers and Lorenz Hart were a monumentally successful writing team in the 1920s and 1930s, making hit Broadway scores filled with songs that went on to be an essential part of the Great American Songbook. And when they weren't working ion Broadway, they were making Hollywood sing! With songs like "Blue Moon", "With A Song In My Heart", "Isn't It Romantic", "Blue Moon", "My Funny Valentine", "The Lady Is A Tramp", and so many others, it is no wonder they rank among the top songwriters of the day. I offer you four very talented ladies singing four great songs I haven't mentioned yet, starting with one of my favorites, Anita O'Day. Her vocal instrument is a magical thing to me, So when she takes on a great song like "Bewitched, Bothered & Bewildered", I get warm just thinking about it. The song, from the 1940 musical 'Pal Joey', is so soft, so tender, and Anita delivers it so sweetly. So I hope you enjoy when Anita O'Day sings "Bewitched, Bothered & Bewildered".

There are just some special voices out there, and I have to say Barbara Cook is one of them. She was a glowing light on Broadway in the 1950s, 60s, and 70s, including winning the Tony Award playing Marion in the original production of 'The Music Man' in 1957. In 1959, Cook released the album 'Barbara Cook Sings From the Heart', featuring the music of Rodgers and Hart. One of the tracks she sang was fro the 1936 musical 'On Your Toes', a show that was directed by C. Worthington Miner and choreographed by George Balanchine. It featured Ray Bolger, and the show ran for over 300 performances. It was originally written as a movie for Fred Astaire, but he thought it was not right for him, and it went to Broadway and made Ray Bolger a star. From that score came a delightful number that certainly grabs my attention, especially when sung by Cook. Please enjoy Barbara Cook singing "There's A Small Hotel", off her 'Sings From the Heart' album.

While many of her hits had a sexy, sultry feel, Peggy Lee was a great singer who showed through time and many styles just how great she could be. Lee began her career as a singer on the radio, and in fact had her own local show while still a teen. She moved to California, and was singing at club when she was discovered by Benny Goodman, and became his singer at the age of 21. Just a few years earlier, in 1937, Rodgers and Hart had a hit Broadway musical that was quickly made into an MGM musical. With a score that included "My Funny Valentine", "The Lady Is A Tramp", "Johnny One Note" and more, the 1939 film starring Judy Garland and Mickey Rooney was a surefire hit. Another of the songs was recorded in 1941 by Lee and the Benny Goodman Trio, one of their early recordings. I hope you love Miss Peggy Lee singing "Where Or When", their romantic look at déjà vu.

There is something so delicious and spicy about the vocals of Dinah Washington. Both her voice and her phrasing were unique, making her a must-hear vocalist. The woman was singing from an early age, first with the Gospel choir in church, and soon was singing solo, wining a talent contest at age 15, and launched a career singing in Chicago clubs. It was there she was heard by Lionel Hampton, who helped launch her recording career. By the late 1940s, Washington was making hit records, topping the R&B charts. In 1955, she released the album 'For Those In Love', made up by some of the great love songs of the time. That would include "This Can't Be Love", from the 1938 musical 'The Boys From Syracuse'. The song is a real look at love, as opposed to the romanticized look at it. I hope you can enjoy Dinah Washington singing "This Can't Be Love" as much as I do.

Rodgers and Hart wrote so many great songs, I could put together another 50 posts. And, given time, I just might. But I hope this Jazzy interlude makes for a nice moment in your weekend.

Dark Monday • Girl Crazy

In 1943, Metro-Goldwyn-Mayer released 'Girl Crazy', based on the 1930 Broadway musical of the same name. This was the second go at the show, the first being a 1932 film that was said to have lost over $150,000, a great deal of money at the time. This seems strange, considering the music was in the hands of George and Ira Gershwin, so it took a little time before Hollywood tried it again. And once they did, they employed Judy Garland & Mickey Rooney, never a bad move. But with great songs like "Embraceable You", "I Got Rhythm", "Fascinating Rhythm", "Bidin' My Time", "But Not For Me", and "Treat Me Rough", this seemed destined to be a hit. MGM first hired Busby Berkeley to helm the project, but was soon let go after repeated arguments with Garland. His only contribution to the film was his staging of the great number "I Got Rhythm", featuring Judy. Of course, the song would go on to be a classic.

Once Berkeley was gone, Norman Taurog was brought in. Tauroq was an Academy Award-winning director, but is perhaps best known as director for many Dean Martin and Jerry Lewis movies, as well as nine Elvis Presley films. But there was plenty of talent in this film to go with Garland and Rooney, including June Allyson, Nancy Walker, and Tommy Dorsey and His Orchestra. In this clip featuring "Treat Me Rough", Tommy Dorsey and His Orchestra play for June Allyson, as well as Mickey Rooney, who joined the ladies in the chorus.

And, finally, I don't know if there can be anything sweeter than the young Judy Garland singing "Embraceable You", the magnificent song by the Gershwins. She is joined on the number by Rags Ragland and his chorus. Judy has a delightful dance break with Ragland that is just happiness personified. And Judy at just 21 years old is a joy to watch, she is positively glowing.

You can find 'Girl Crazy' on DVD in just about any online store.

Dark Monday • Why? Because!

'Everybody Sing', the 1938 MGM musical that featured Judy Garland, Allan Jones, Fanny Brice, and Billie Burke. In the musical number billed as "Snooks (Why? Because!)" , Brice played the character she became known for, Baby Snooks, a precocious little girl. She is joined in the number by Judy Garland, still a teenager herself. The song was written by Harry Ruby and Bert Kalmar, a pair of Jewish American writers who started in vaudeville, The duo had written the score to many movies, including some of the greatest of the Marx Brothers, like 'Animal Crackers', 'Horse Feathers' and 'Duck Soup'. The film is all about a family full of eccentricities, from the young teen girl to the parents to the housekeeper. Garland plays the young girl struggling to find a place to fit in, while Brice plays the Russian maid. As if often the case in the musicals of the 1930s and 1940s, the family and those around them decide to put on a show. One of those numbers is "Snooks (Why? Because!)", sung by Brice and Garland.

You can purchase 'Everybody Sing' on DVD from many online stores, including Amazon.

Confessions of Liza Minnelli

Liza Minnelli once said that when she was working on the 2010 release 'Confessions', she wanted the sound and feel to be like when you and your very talented friends were at a dinner party, and after a great meal start to congregate around the piano, with a drink in hand, singing songs everyone knew by heart. And that thought pretty much lines up with my thoughts on the Saturday night posts. So at the age of 64, Liza released 'Confessions', her first studio album in 15 years. The arrangements were simple and warm, much of the album focused on Liza's remarkable voice, and the piano stylings of her great friend, Billy Stritch. The result is perhaps the most intimate album Liza has ever released, with no sweeping arrangements or show-stopping numbers the daughter of Judy Garland had become known for. Instead, there were fourteen charming performances that prove the old gal has "it"! In this first clip, Liza sings a medley of two songs on the album. First is the veritable title song from the album, "Confession". The song was written by Howard Dietz & Arthur Schwartz for the Broadway musical 'The Band Wagon'. That is followed by "You Fascinate Me So" written in the late 1950s by Cy Coleman & Carolyn Leigh.

Next up, we have "If I Had You", a song written by James Campbell, Reginald Connelly and Ted Shapiro in 1928. The song quickly became a Jazz standard, and was sung by so many. On the album, it is a delicate song, sung with a sweetness by Minnelli, accompanied only by Stritch on the piano.

Next up, we are listening to "Close Your Eyes", a song written in 1933 by Bernice Petkere. This is just so damn charming, and Liza has a light and flirty feel to her performance. Once again, it is a simple and clean arrangement, with a nice Jazzy air. I'd love to be in the club while Liza was singing this. Oh, hell, who am I kidding? I'd love to be in that club not matter what song she is singing...

Our final song of the evening is "I Must Have That Man", written by Dorothy Fields & Jimmy McHugh for the Broadway musical 'Blackbirds of 1928'. The musical also included the iconic songs "I Can't Give You Anything But Love", and both songs were introduced by star Adelaide Hall. This song is perfect for Minnelli, a bluesy look at love.

I have to admit, I love this album. It is just filled to the brim with wonderful music being treated just the way it should be. And I think it is her best in a very long time, reminding me of some of my favorites, her early work. I hope you enjoyed this, as much as I did putting it together. You can purchase 'Confessions' on iTunes and Amazon.

The Songs of World War I

Clockwise from top left: Helen Clark; Photo from the literal trenches of WWI; Florrie Forde; Rosa Ponselle; Billy Murray; and Mark Sheridan.

As this is Memorial Weekend, I thought I would do a bit of research and decided it would be fun to play some of the music of World War I. The War started on July 28, 1914 and did not end until November 11, 1918. The War was pretty much fought on the ground of Europe, although all people in the world were affected by it to some degree or another. It all began with a single shot fired in a highly-charged atmosphere of Europe. The assassination of Archduke Ferdinand brought the tensions to a head in the area, and soon the whole world was picking side, and getting involved. That included the United States, as the American Armed Forces stood beside the Allied forces in battle. The first song I being to you this evening is one that was really more a call to arms, really a recruitment tool. "Your King and Country Want You" was written by Paul Rubens and recorded by several ladies eager to encourage young men to fight for the crown. I was able to find this version by Helen Clark, released in 1914.

Next up, I found an amazing lady by the name of Florrie Forde. She was born in Australia, and quickly became a star in the music halls there. When she was 21, she moved to London, and took her new home by storm. She quickly became a big star, both on stage and in the recording studios in 1903. She quickly became a voice of the country, and this was certainly the case when she recording a couple of songs during the war that instantly struck a nerve with the British public. Here is Florrie Forde singing "A Long Long Way To Tipperary" and "Pack Up Your Troubles In Your Old Kit-Bag And Smile, Smile, Smile". The first was a British music hall song written by Jack Judge and co-credited to, but not co-written by, Henry James "Harry" Williams. The latter was a World War I marching song, published in 1915 in London. It was written by George Henry Powell under the pseudonym of "George Asaf", and set to music by his brother Felix Powell. While she certainly sang them while the war raged on, Florrie rerecorded two of her hits in 1929.

I first learned of this song, as well as the first song, when working on a production of 'Oh, What A Lovely War' while in college. The show features several songs from World War I, from propaganda to heartwarming. Now, I would have to say "Belgium Put The Kibosh On The Kaiser" would distinctly fall under the category of propaganda, as well as ribald entertainment. The song was first performed by Mark Sheridan in 1914. He was a well-known comedian and singer from the music halls, and songs like this, which combined national pride with humor mocking the enemy, made him a popular man. Please enjoy him original recording of "Belgium Put The Kibosh On The Kaiser".

Next I have a patriotic novelty song sung by tenor Billy Murray in 1915. Murray was born in Philadelphia, the song of Irish immigrants. In the 1890s, Murray made a name for himself playing vaudeville shows, as well as traveling minstrel shows. After the new century rolled in, he was recording songs, both comedic and serious in nature. The song I picked here would be the former, as "Sister Susie's Sewing Shirts For Soldiers" was a bit of a tongue-twister, as well as sending a strong message to the people not fighting the war that we must support out troops.

In the last song of this post, I offer up the stirring and beautiful "Keep The Home Fires Burning" composed in 1914 by Ivor Novello with lyrics by Lena Gilbert Ford. It was recorded by several different people at the time, and quickly became a favorite of the people with sons or brothers or husbands or friends battling in the war. I have chosen a version by Rosa Ponselle, a young woman born in Connecticut, the daughter of Italian immigrants. She began singing in movie theaters, entertaining the audiences while the reels were being changed. Soon there were more engagements, singing in cabarets and clubs. That led to work in vaudeville, which later brought her to the attention of the Metropolitan Opera, where she was a featured soprano. But while still singing popular music for the masses, she made a beautiful recording of "Keep The Home Fires Burning", so please enjoy it.

What binds all these songs together was their appreciation and support for the men and women who serve their country, no matter which country that was. Whether it was the United States, England, Ireland, Australia, or any other place where music could be heard. And now, a century later, we celebrate Memorial Day, a day of remembering the men and women who died while serving in the United States Armed Forces. Today, like every other day of the year, we offer them out sincere gratitude for all they have done. Thank you.

A Night with Dinah Washington

Miss Dinah Washington was one of the top vocalist of the 1950s, and the was the greatest selling black female recording artist of that period. Her big hit was not just big, but megahuge. "What A Difference A Day Makes" had such a strength and depth to it, it is damn close to irresistible. And like many singers, she first found music in her church, singing in the choir. By the time she was 15 years old, Dinah was playing in clubs around Chicago, making a name for herself. By the time she was 19, she had attracted the attention of many people, including Lionel Hampton, who signed her up to sing with his band. After two years with Hampton, Dinah went solo, and started with singing the music of the great Fats Waller. She also recorded this great song co-written by Louis Jordan and Billy Austin in 1944. Here is Dinah Washington singing "Is You Is Or Is You Ain't My Baby".

Next up, Dinah sings "I Don't Hurt Anymore", written by Don Robertson and Jack Rollins. As a single, Dinah had a big hit in 1954, and it is easy to hear why. This Bluesy song is just wonderful, and she sings it perfectly. This is a clip of her singing it live in 1956. You can just eat this up with a spoon, it is so yummy.

In 1955, Washinngton recorded a great song written by Cole Porter, originally featured in the 1934 Broadway musical 'Anything Goes'. Dinah Washington recorded "I Get A Kick Out Of You" for the album 'For Those In Love', and it is easy to see she loves the song. You can hear it in the recording. Another thing you hear on the record is the early work of a young Quincy Jones, who did most of the arrangements for the album.

Dinah sings "Drinking Again", a 1962 torch song, with lyrics by Johnny Mercer and music by Doris Tauber. Dinah recorded the song that same year, on an album of the same name. This time out, the songs were arranged by the great Don Costa, best known for his work with Frank Sinatra, both as a producer and arranger.

Unfortunately, Washington was not to be with us that much longer. While she was around, she certainly lived life to the fullest. She was married seven times, and had two children. She made music in four decades, from her choir music in the 1030s, to the high-quality recordings of the 1960s. Early on the morning of December 14, 1963, Washington's seventh husband Dick "Night Train" Lane went to sleep with his wife, and awoke later to find her slumped over and not responsive. A doctor pronounced her dead on the scene. An autopsy later showed a lethal combination of secobarbital and amobarbital, which contributed to her death at the age of 39.

Golden Songs From The Silver Screen

Clockwise: Doris Day; Dame Shirley Bassey; Ella Fitzgerald, and Binnie Hale.

Well, I have to admit I was wondering what to post about, and I came across an old recording by one of my favorites, Michael Feinstein, 'Romance On Film/Romance On Broadway', which featured some amazing songs that might be best known because of a spectacular and memorable performance on stage or on screen. Since many of these were older songs, I went about looking for some amazing recordings to show off what great songs they are. The first of those is a popular song written in 1945 by Harry Warren, with lyrics by Mack Gordon. It has appeared in several films, perfect for fixing the mood of a scene. I picked a song recorded in 1965 by the great Doris Day. When she sings "The More I See You", it is impossible not to feel deeply what love can be.

Next up, I have picked a song introduced by Bing Crosby in the 1960 film 'High Time'. "The Second Time Around" has lyrics by Sammy Cahn and music by Jimmy Van Heusen, a great duo indeed. For this great song, I picked the always amazing Dame Shirley Bassey, with a rendition she recorded for the 1962 album, 'Lets Face The Music'. The great singer was accompanied by the great Nelson Riddle and his Orchestra

I don't know if this post would be able to go without this song written by Herman Hupfeld in 1931. It was written for the 1931 Broadway musical 'Everybody's Welcome' and originally sung by Frances Williams. But perhaps it is best known by a version sung by a character in a 1942 movie. Club singer Sam (Dooley Wilson) sings the song in the movie 'Casablanca'. Yes, we are talking about the great song "As Time Goes By". Now, it has been recorded by a multitude of artists, but after I looked around, I decided to go with a version by Binnie Hale in 1932. There is just such charm on the recording made by this stsar of the British stage.

And, last but most certainly not least, I decided to go with a song written in 1932 by the great songwriting team of Rodgers & Hart. "Isn't It Romantic" was introduced by Jeanette MacDonald and Maurice Chevalier in the Paramount film 'Love Me Tonight'. I decided to go with a lush version recorded in 1957 by the brilliant Ella Fitzgerald recorded. It is my pleasure to share with you the great Ella singing "Isn't It Romantic".

Have a great weekend!

And The Winnner Was...

Clockwise: Posters from The Gay Divorcee; Gold Diggers of 1935; Swing Time; Waikiki Wedding; and The Big Broadcast of 1938.

To mark the occasion o the Academy Awards tonight, I thought I would take a look back at the first five winners of the Academy Award for Best Original Song. The Academy Awards began in 1929, a small brunch of industry bigwigs patting themselves on the back. There was no surprise that first year, as the winners were announced a few months prior. That was changed for the second ceremony, where the winners were announced from the podium. The early ceremonies mostly recognized the actors, directors and producers. Once again, things changed in 1934, the first year the music was recognized. In fact, two awards were given, for 'Best Original Song' and for 'Best Score'. For the purposes of this celebration, we will just be looking at the 'Best Original Song' winners. The very first winner of the Academy Award for Best Original Song was "The Continental" from 'The Gay Divorcee'. The movie featured Ginger Rogers and Fred Astaire, and several beautiful dance numbers. The biggest dance was for this song, with music by Con Conrad and lyrics by Herb Magidson, although it was heard as an instrumental on screen. "The Continental" was both a song and a swing dance, but more of an exhibition dance than a dance craze. Watch and enjoy "The Continental" from 'The Gay Divorcee'.

The next year, the Academy Award went to a song that was a classic in the making. Not only did it charm in this original version, it went on to be sung by many through the years, it also went on the have live afterwards on the Broadway stage. The 1935 Academy Award for Best Original Song went to "Lullaby of Broadway", the huge musical number from 'Gold Diggers of 1935'. With music by Harry Warren and lyrics by Al Dubin, the song was perfect for production values of Busby Berkeley, whose imaginative choreography and direction made magic. Forty-five years later, Gower Champion brought '42nd Street' to the Broadway stage, featuring the music of Warren and Dubin. One of the big numbers from the show was "Lullaby of Broadway", first sung by the late Jerry Orbach. But it was Wini Shaw who had the honors in the original film, so please enjoy "Lullaby of Broadway".

The next winner is another classic, sung by many, from Bing Crosby to Billie Holiday to The Jaguars to The Letterman to Tony Bennett and so many more. But the song, with music by Jerome Kern and lyrics by Dorothy Fields, began as a sweet love song in the movie 'Swing Time'. I would say it was a simple beginning, but anytime a song is introduced by Fred Astaire in a film with Ginger Rogers, simple doesn't seem to apply. Such is the case with "The Way You Look Tonight", a song even lyricist Fields said "The first time Jerry played that melody for me I went out and started to cry. The release absolutely killed me. I couldn't stop, it was so beautiful." Watch and listen as Astaire delivered "The Way You Look Tonight".

I have to say, this next winner owes a great deal to finding the perfect performer as it does anything else. 'Waikiki Wedding' was a tropical musical, set on beautiful Hawaii. It starred Bing Crosby and the dashing male lead, opposite Shirley Ross. The cast also included Martha Raye and Bob Burns as the second leads, and comic relief. It was Crosby who delivered the 1937 winner of the Academy Aware for Best Original Song, "Sweet Leilani". It was written by Harry Owens, a composer born in Nebraska. He was a bandleader, and in 1926 took up residence at the Lafayette Cafe in Los Angeles. It was there he auditioned and first started working with a young singer named Bing Crosby. A few years before the film, Owens had moved to Hawaii, and was named music director of The Royal Hawaiian Hotel in Waikiki. On vacation before shooting 'Waikiki Wedding', Crosby visited his friend, and heard the orchestra play a song Owens had written for his daughter, Leilani. Bing loved it, and wanted to use it in his upcoming film. And it went on to win the Oscar. Enjoy the scene from the movie 'Waikiki Wedding'.

The fifth winner of the award is another song that went on to become a classic. Although 'The Big Broadcast of 1938 starred W.C. Fields, Martha Raye and Dorothy Lamour, the song was not sung by one of these big stars. Instead, "Thanks for the Memory" was sung by one of the comics, a young Bob Hope. The song, with music by Ralph Rainger and lyrics by Leo Robin, went on to be the signature song for the comedian, which he performed at the end of his shows. I hear it, and I instantly think of Hope, whose television specials and work with the USO I remember so well. In fact, I am not sure I have ever seen the original movie, even though this song is such a strong memory. In the clip from the movie, see Hope sing the song with costar Shirley Ross in 'The Big Broadcast of 1938'.

Enjoy the 2013 Oscars!

I Can Dream • The Music of Sammy Fain

Clockwise: Rosemary Clooney; Belle Baker; the Andrews Sisters; and Ella Fitzgerald.

I thought it might be nice to dedicate a night to the music of Mr. Sammy Fain, an amazing composer known for his gorgeous ballads. Fain was born in New York City in 1902, and by the time the 1920s rolled around, he was a part of the entertainment industry. He began as a performer, but soon was dedicating his time to composing. By the end of the decade, he was making hit music, and much of that music has withstood the test of time, and have become standards in the Great American Songbook. And I will start with one of the songs, even if it might not be one of his more popular offerings. "You Brought A New Kind of Love to Me" was written in 1930 with Irving Kahal, and Pierre Connor. It was introduced to the public by the great Maurice Chevalier in the movie 'The Big Pond', and then featured again in 1931 in the Marx Brothers' comedy 'Monkey Business'. It was recorded by Belle Baker in 1930, with a lovely arrangement. It was also in the soundtrack to the the 1977 film 'New York New York', a great big band arrangement sung by Liza Minnelli. With all these choices, I decided to go with one I thought very sweet. Enjoy listening to Belle Baker sing "You Brought A New Kind of Love To Me".

Our next song had music by Fain, and lyrics by Lew Brown. "That Old Feeling" was written in 1937, and first appeared in the movie 'Vogues of 1938', but was really known more for the various recordings, including the one by Shep Fields and His Rippling Rhythm Orchestra, which was very popular. The song was recorded by countless artists in the 1950s and 1960s, including Frank Sinatra and Patti Page. There was also a stunning version by Ella Fitzgerald, recorded for her 1955 album, 'For Sentimental Reasons'. And it is that version you will find here, so enjoy!

Our next song was written as a lost-minute replacement song for the 1938 Broadway musical 'Right This Way', which closed after 15 performances. The show had music by Sammy Fain and lyrics by Irving Kahal. I have loved this song for a long time, for it has a beautiful and haunting quality. "I'll Be Seeing You" has been sung by some of the greatest voices of the past century, both male and female. I loved Judy Collins' version of the song, recorded in the 1970s. But I decided to go with another voice I love to hear, not matter what she is singing. Enjoy as Rosemary Clooney sings "I'll Be Seeing You", recorded in the mid-1950s.

Although 'Right This Way' was a commercial failure at the time, it wasn't because of the music of Sammy Fain, or the lyrics of Irving Kahal. For there was another song that emerged from the flop as a clear winner, and been recorded by many over the next several decades. That includes versions by Cass Elliot in 1969, and the Carpenters in 1975, both stunning. But I decided to go with what many believe to be the most popular recording of "I Can Dream, Can't I?" It was recorded and released by the Andrews Sisters in 1949, topping the top three Billboard carts at the time: Best Sellers in Stores; Most Played by Jockeys; and Most Played in Jukeboxes. So enjoy the beauty of the harmonies of the great Andrews Sisters as they sing "I Can Dream, Can't I?"

In 1972, Sammy Fain was inducted into the Songwriters Hall of Fame. He worked into his sixties, making music. And his music continued to be featured by artists and shows around the world. Sammy Fain died in 1989 in Los Angeles. He was 87 years old.

Just A Little Bit of Blue

Clockwise: Annette Hanshaw; Billie Holiday; Big Maybelle; and June Allyson.

Well, it is Saturday night, and time to hit the clubs again. Only these days, I think I would prefer a nice smokey nightclub to a dance club. Of course, they'd have to have only the best girl singers, putting down some amazing songs about love and life. Tonight, I am glad to feature four songs from four decades. And I will begin with the singer with the earliest recording of this quartet, Annette Hanshaw. Many think of Annette as the first great female Jazz singer, for she was exceedingly popular during the 1920s and 1930s. She was also thought to be the inspiration for the ultimate flapper, Miss Betty Boop. In 1929, Hanshaw recorded a song with music by Sigmund Romberg and lyrics by Oscar Hammerstein II for the 1928 Broadway show 'The New Moon'. That song went on to become a classic of the Great American Songbook, sung by many. Listen as Annette sings "Lover, Come Back To Me".

In 1934, another song was written that would be a part of the Great American Songbook. The song, with words and music by Ray Noble, is a Pop standard, sung by so many. But few could sing it like Lady Day. So here is Billie Holiday to sing "The Very Thought of You", which can be found on her 1959 album 'The Billie Holiday Story, Vol. 1'.

And while she really didn't record much outside of the cast recordings of the Broadway and movie musicals she appeared in, June Allyson was cast in many a musical. In fact, she began as a member of the chorus in Broadway shows, before moving up to understudy, and finally, the lead. And it wasn't long before she was on her way to Lon Angeles, on her way to movie stardom. That included being featured in the musical number "Treat Me Rough" from the 1943 musical "Girl Crazy". She is joined in the song by co-star Mickey Rooney, in one of the classics he played opposite Judy Garland.

And, last but most certainly not least, I have a song from a favorite of mine, Big Maybelle. She has a vast catalog of music, and I am oh-so-grateful for that. So I end out Saturday night together with her bluesy "I'm Getting 'Long Alright". The song can be found on 'The Complete Okeh Sessions 1952-1955' and was composed by Bobby Sharp and Charles Singleton.

Saturday Night Love

Clockwise: Vera Lynn; Anita O'Day; Sophie Tucker; and Jo Stafford.

As I was thinking about this post, I decided to listen to one of my playlists on iTunes, hoping for some inspiration. After listening to a couple of songs, I had to laugh at myself. What was I thinking, hoping for inspiration? These are the songs I am gonna use, by golly! So I started with the voice of a woman many thought of as the voice of World War II in the UK. Many found strength and support in Vera Lynn's voice, no matter what she sang. I picked her beautiful song released in 1940, "A Nightingale Sang In Berkeley Square", written by Eric Maschwitz and Manning Sherwin.

Ultimately, I think that Anita O'Day might be one of my favorite big band/jazz singers. No matter what I am listening to, I find there are some singers I constantly find playing. Anita is one of them. So I picked one of my favorites, a song from 1945 written by Jimmy McHugh and Clarence Gaskill, "I Can't Believe That You're In Love With Me".

How can anyone not love the vocals of Jo Stafford? Tonight I will feature a song written by Chilton Price, and later adapted by Pee Wee King and Redd Stewart. In 1952, Stafford released her version of the classic song "You Belong To Me", and it soared on the charts on both sides of the Atlantic. While she was thrilled to get to #1 on the Billboard Hot 100 in her native US, it also gave her the unique position of being the first woman to have a #1 song on the UK Pop charts.

Now, I don't understand how anyone could not love the great Sophie Tucker. While some might have gotten to know her through the bawdy jokes told by the Divine Miss M, Bette Midler, in her live shows. And while Sophie was an amazing talent, she was also a woman who was ahead of her time, which gave many producers pause while she was singing in the 1930s and 1940s. Through it all, Sophie stood tall, and continued to makes some wonderful music. Here is the 1930 live performance of "No One But The Right Man Can Do Me Wrong" from London.