Rhythm on Record

My review of Satchmo at the Waldorf by Terry Teachout concluded with this photograph of the great Louis Armstrong.  Attribution was given to an obscure discography, Rhythm on Record (London, 1936).  I didn’t want to mix information on that work in the review, so here is the rest of the story.

In the mid 1970s I was running a publishing company in Westport, CT (later known as Greenwood Publishing Group).  At that time we were slowly transitioning from reprinting out of print books and journals into becoming a full-fledged academic and reference publishing house.  I happened to be in London before (or was it after?) the Frankfurt Bookfair in 1975 and I had an afternoon free of appointments to rummage through the antiquarian bookshops in the Charing Cross Road and Bloomsbury areas.  In one of those spellbinding stores I came across Rhythm on Record.  The proprietor said it was very rare and that it was the world’s first discography.  Looking through it I was fascinated to see so many great early jazz musicians, dance bands and singers so well represented, including some striking black and white plates.  I bought it on the spot and made it the central focus of a large reprint program of discographies, classical as well as jazz, which were out of print. 

Later we developed our own original discography works.  I learned there was a whole coterie of discography specialists such as Michel Ruppli in France who ultimately compiled a number of works for us, including a 6 volume 6,000 page guide covering the Decca record labels as well as Brian Rust in the UK who wrote the definitive Guide to Discography which we published in 1980

This kind of reference publishing has been obviated by the Internet, but, at the time, it was precious information for collectors and enthusiasts which could only be communicated in printed form. It is amazing to step back and see the whole progression and to recognize the achievements of the discography pioneers, in this case, Hilton R. Schleman.  The subtitle of the work is long: “A complete survey and register of all the principal recorded dance music from 1906 to 1936, and a who’s who of the artists concerned in the making.”  It is indeed all those things and more given the numerous illustrations.

I can’t reproduce all of them here, but, first, here are the text pages which were devoted to Louis Armstrong.  They show the detail that went into this pioneering work:

Here are but a few of the illustrations:

Finally, the other thing I did not want to mix with my review was the happy circumstance that I was asked to play the piano in the lobby of Dramaworks on opening night, so I had a dual role as reviewer and entertainer. 

I choose to perform an “all Louis Armstrong” program, songs that he is either closely associated with, and/or recorded by him such as “What a Wonderful World,” Star Dust,” "Won't You Come Home Bill Bailey," and about a dozen more including “Ain't Misbehavin'” and “Hello, Dolly.” There are truncated videos in links to the last two songs.

All in all, it was a special night -- in a way, a full circle for me from my publishing days.

Christmas Time is Here -- in Florida

Last year I posted my piano rendition of one of my favorite Christmas pieces, It’s Love –It’s Christmas, written by the great jazz pianist, Bill Evans.  You rarely hear it performed in the tsunami of holiday music that overwhelms airwaves at this time.  Another favorite is Vince Guaraldi’s Christmas Time Is Here, much more frequently performed.  No wonder, it was written for A Charlie Brown Christmas special in 1965.  Although Guaraldi’s music will always be associated with the Peanuts Christmas specials, he was a fabulous jazz pianist and composer in his own right, tragically and suddenly dying at the age of only 47 of a heart attack or aortic aneurysm.

So, in the spirit of a Florida Christmas, I offer my own piano rendition, nothing like the master Guaraldi’s, but just mine.  The lyrics are by Lee Mendelson, the producer of the Charlie Brown specials, who just happened to hear Guaraldi’s "Cast Your Fate to the Wind" on the radio and sought him out to compose the music for the 1965 special, and the rest is history.

Christmas Time Is Here

Christmas time is here

Happiness and cheer

Fun for all that children call

Their favorite time of the year

Snowflakes in the air

Carols everywhere

Olden times and ancient rhymes

Of love and dreams to share

Sleigh bells in the air

Beauty everywhere

Yuletide by the fireside

And joyful memories there

Christmas time is here

Families drawing near

Oh, that we could always see

Such spirit through the year

And what would Christmas time be in Florida without the recent Boat Parade.  We had a view from the starting point at the North Palm Beach Marina, the parade preceded by fireworks.  Having had our most memorable Christmases in Connecticut, the contrast is, well, striking.

From Christmases past, this 1977 photo, Jonathan, Ann, me, our beloved Uncle Phil, and Chris…

 

A Happy and Healthy Holiday to All!

This Funny World

Before Rodgers and Hammerstein there was Rodgers and Hart.  They wrote so many great standards such as Manhattan, My Funny Valentine, The Lady Is a Tramp, I Could Write a Book, Bewitched, to name just a few of my favorites, but sometimes their songs became conflated with the other great standards of the era, those by George Gershwin and Cole Porter in particular.  Yet Rodgers and Hart were trailblazers in their own right.

They met as young students at Columbia University and they seemed destined for one another.  Rodgers of course could write a melody as us mere mortals can compose post cards. Noël Coward once said that Rodgers just “pissed melody.” He was the consummate composer and partner, productive and businesslike. One could always count on Richard Rodgers.  Larry Hart on the other hand was a troubled person. Unlike the “beautiful” people he wrote about and consorted with – first on Broadway and then in Hollywood -- he felt himself to be an outsider, he was gay, Jewish, and diminutive (always photographed standing while Rodgers was sitting at the piano).

His lyrics could be dark and cynical. But I’ve been so accustomed to playing their well known pieces, and as I do not have a singing voice, Hart’s lyrics became submerged in the deep pool of their music.  Furthermore, I've played most of their music from fake books, the melody line or verse only without the introductions.  Their songs without the intros are like birds without feet, homes without foundations.  I have a Gershwin songbook with the intros and I needed one for Rodgers and Hart. To the rescue:  Rodgers and Heart; A Musical Anthology.

Alas, my songbook arrived but I should have known that in this profit driven world the publisher (Hal Leonard) would chose the less expensive “perfect bound” alternative to spiral binding (such as my 40 year old collection of Gershwin’s songs).  Very sensible for the publisher but a nightmare for the pianist as most songs with the intros are at least 4 pages and turning the pages of a perfect bound book is difficult while performing. Even if one is merely playing for oneself it is frustrating to have to introduce a few bars of silence while trying to turn and pin back a page.

One could try to break the binding but ultimately pages would separate or one could guillotine the book and put the pages in plastic sleeves in a three ring binder, expensive and time consuming.

Ah, for the want of a nail. I knew there would ultimately be an iPad in my life and this was the final straw to tip the scale.  I'd photograph select songs with the iPad (still difficult to hold down certain sections of the book for photographing and having to accept some partially distorted pages, albeit legible). Then do the same for my Gershwin songs and other beloved standards, put them in albums, and then play the music from my iPad, merely swiping pages to “turn” them.  Voila it works! A couple of negatives though.  If your finger resides too long on the page you are swiping, you are returned to the pervious menu of all pages, so I’ve “perfected” the technique of quickly swiping while playing.  Furthermore, the page is about half the size of the printed book.  Good reading glasses to the rescue for that drawback.

 

This commitment to the iPad for my sheet music repertoire in turn has led to a certain acceptance about my piano technique.  I've gone into jazz, contemporary, some classical even, but I find the most satisfaction from the standards, particularly the music of the thirties and forties.  I was born too late to live in that moment, but today I find the themes to be as relevant to today as when they were written. So I’m making my iPad music albums all standards focused when playing in public venues, mostly local retirement homes. To date I’ve performed at The Inn at LaPosada, the Hanley Center, The Waterford, Mangrove Bay and most recently a monthly “gig” at Brookdale Senior Living.

And now I can incorporate the introductions to many of the standards which so beautifully set up the songs, sometimes acting as a counterpoint and foreshadowing the content.  Finally, playing the Rodgers and Hart Songbook yielded a double bonus, finding songs that are absent from my fake books, such as their hilarious To Keep my Love Alive, and some songs I’ve rarely heard.  One such song is This Funny World.  Here is where you see the genius of Larry Hart: the lyrics are so achingly cynical -- one can imagine Hart wearing his own heart on his sleeve. 

Richard Rodgers’ magnificent melody populates the introduction with minor chords, underpinning the dark lyrics by Hart. (Although, when working with Hart, Rodgers would normally first write the melody.  When collaborating with Hammerstein, the lyrics would normally precede Rodgers’ composition.) Rodgers writes the song in a major key.  Such sad lyrics to such a beautiful melody and the chorus which is also the title of the song is repeated four times just to make sure you don’t forget it!

With my imperfect equipment, in my imperfect recording studio (our living room), I recorded the piece and posted it on YouTube so it plays on all devices.  It helps to read the words before or during the video.

A mop! A broom! A pail!

The stuff my dreams are made of!

You hope, you strive, you fail!

The world's a place you're not afraid of.

But soon you are brought down to earth,

And you learn what your dream was worth.

This funny world makes fun

of the things that you strive for

This funny world can laugh

at the dreams you're alive for.

If you are beaten conceal it!

There's no pity for you.

For the world cannot feel it.

Just keep to yourself

Weep to yourself.

This funny world can turn right around

and forget you.

It's always sure to roll right along

when you're through.

If you are broke you shouldn't mind.

It's all a joke for you will find

This funny world is making fun of you.

Nina’s Gift

It was a bit of serendipity that we met Nina Motta, a neighbor who doesn’t exactly live next door but, nonetheless nearby.  Our dogs brought us together, my walking our schnauzer, Treat, who has long departed us, and Nina walking her beloved Ozzie, a very affectionate golden retriever, who has also now passed on, devastating to Nina.  But while walking our dogs we found we had much in common, so much that we began to socialize given our mutual interests and sensibilities.

We met some of her family who were visiting Florida.  Three of her siblings are professional musicians and there was an impromptu concert at her beautiful home.  Nina was a guest at my 65^th birthday where I played the piano, accompanying a singer with whom I used to perform.

So from time to time we’d go out to dinner, or have dinner at each others’ homes.  When visiting Nina’s home we were struck by her paintings.  Yes, in addition to her musical abilities, she is an accomplished, award winning artist.  There was a particular painting I was drawn to, one of a young woman at a piano, making a notation on a score.  It took my breath away and Nina said she could make a copy for us.  I naturally envisioned it over our piano.  That was several years ago and once in a while I would remind her of her promise.  But like all of us, although we mean well in making a grand gesture, I believe it often escaped her memory and more importantly, I didn’t want to perpetually bug her about it, although from time to time she’d bring it up herself saying she hadn’t forgotten.

Several weeks ago she called to ask whether she could come by.  We thought it was to schmooze a little, have a glass of wine, catch up (we had just returned from our summer in Connecticut).  She arrived with a rolled up canvas.  Could this be it, I wondered?  We cleared the dining room table and as she unrolled the canvas we were truly taken back: not only that “a promise made became a promise kept,” but what unfolded seemed to be the original.

No, she explained, this was a professionally prepared giclée, a high quality digital image of the painting, using pigmented inks onto museum quality canvas.  It is not a lithograph but, in many respects, an “original” as well.  I haven’t held it up against the original painting but I suspect it is indeed an exact copy.  It’s certainly the way I remember the painting.

Well, she said, you now have to pick out a frame and have the canvas stretched, and after I said we’ve used a local art store nearby, she said don’t use them for this!  Yes, ma'am!  So she promised to recommend a few other options which she did and we went to the Easel Art Supply Center in Lake Park, a family owned store which has been around for years.  Lucky we did, they just happened to have in stock a few frames for a 30” x 40” painting.  We had expected that it would have to be custom framed. 

They had three frames, each of which seemed to go well with the painting.  So, which to choose?  Fortunately, a graphic artist was wandering about the store so we asked her opinion.  She immediately pointed out that the frame we finally chose brought out the highlights in the painting.  Also, we thought, as there was a certain subtle, Asian-inspired design in the corners of the frame, it would fit perfectly in our living room (similarly decorated) and of course over the piano.

When we picked up the finished frame we immediately asked Nina to come over to help us position it. I think she too was taken back not only by the quality of the frame but how the painting was enhanced by it. 

So, now when I play the piano, I have company, Nina’s painting of “Jessica.”

To understand more about the painting, I “interviewed” Nina, wanting to know all about not only the painting, but what brought her to art from her grounding in music.

So, Nina, when and why did you begin to paint, especially given that you and many in your family were trained as musicians?

It was just during the past 10 years that I began my journey into the wonderful world of art and painting. Yes, I grew up in a family of musicians -- my mother was a classically trained pianist and three of my six siblings are professional musicians.  All of us had to choose and play an instrument. I played the piano, cello and sang as an alto in choruses through the years. Art never seemed to come into the forefront of extracurricular activities, as music was a family mandate. That being said, I had fleeting moments of curiosity about painting as my father painted quietly in his studio at home. Every now and then I'd peek in and look at his work on the easel, but rarely was there discussion and the studio was off limits to the kids. I suppose a little seed had been planted.

There is an indelible connection between music and art. The cadence of a phrase, the emotional swelling/receding of a dynamic, the sonorous voice of a baritone is all like the decisive brush strokes and values on a canvas.

Was there a particular catalyst that brought you to art?

After a shakeup in my life about 15 years ago and addressing what I creatively wanted to do moving forward, I decided to unearth my inclination toward art and explore two dimensional art as my new project and creative expression. I wanted to dig my heels into it and although a bit unsure, I was determined to learn, work hard and hopefully get good at it.

My first steps toward becoming an artist were in drawing classes. I enrolled in one after another.

I began using pencil and charcoal because colors, color mixing and color theory were intimidating. I took introductory and intermediate drawing classes and then began painting classes. I have taken workshops and painting classes for several years.

From that point onward, I found great emotional connection to painting. Painting requires disciplined practice. Levels of frustration can be debilitating. Perseverance, consistency, studying the process and especially a good teacher are a must. Hard work pays off and painting can be a joy, bring great satisfaction and be rewarding. I find I am drawn to figurative work in my paintings.

Thinking of the painting you so generously gave to us, I suspect your life as a musician led you to the subject?

It seemed only natural to connect music and art, so painting musicians as my subject matter was my decision for several of my beginning paintings. The artist's hope is to find one's passion, express it and engage the viewer.

The piece of Jessica came about when my niece Jessica, who had been studying architecture at the University of Miami, came to visit one weekend.  As an architecture major, her grueling schedule gave her very little time to go to the piano labs on campus to play, so coming to visit gave her family time and piano time.

She is a multi talented young woman and has a commanding ability at the piano. I asked her to play a piece so I could take a few photographs as possible references for a painting. All my paintings are from my own photographic references.  

To make it interesting, I stood on a ladder behind her and the pictures were taken from above looking downward.  The perspective was what made this piece so exciting.

What piece is she playing in the painting and how did you “paint” the notes?

We chose Chopin Prelude Op.28, No. 4 as the piece she'd be "playing”. The painting is an oil painting; however the notes of the piece were all painstakingly done in pencil. It was done without using any projection.  Everything was calculated by eye, using rulers for measurement and pencil sketching first to lay in the subject on the canvas. As you know the canvas size is large, 30" X 40"and this piece took about eight months to complete.

I remember seeing an exhibition of your paintings at the Maltz Jupiter Theatre.  Has this painting been entered in any competitions?

It was awarded 2nd Place --The Mary Snow Corr Award --  in 2010 at the Lighthouse Art Center in Tequesta, Florida.

I’m surprised that you haven’t entered it in other competitions.

The artist's hope is to find one's passion, express it and engage the viewer. I believe this piece engaged you and Ann and that is the best reward an artist can receive.

Indeed, Nina, we are engaged and in love with the painting and with you!  As I said, I feel I have company now when I play, you and your niece.  Unfortunately, I am merely an interpreter of the Great American Songbook, never having had classical training, and as much as I would love to be able to play Chopin’s Prelude Op.28, No. 4, I’ll have to be content playing my tunes.  Recently I found myself playing Never Never Land, a nostalgic song sung by Peter Pan (Mary Martin in the original 1954 Broadway show) in which Peter muses about the dreamy land where he lives.  The great Jule Styne wrote the music while the lyrics were written by the legendary Betty Comden and Adolph Green team.  So I offer a brief rendition of it here (although it may not play on mobile devices) as I think, Nina, you are a dreamer.