Podcasts about american songbook

STEVIE HOLLAND – the award-winning jazz vocalist and songwriter – has announced the release of the vinyl edition of her acclaimed new album Talk to Your Tomatoes, which is available today, Friday, April 17. This summer, she will celebrate the album with a special New York concert at 54 Below on Tuesday, July 28 at 7:00 PM. Tickets are available HERE. To order the vinyl edition, visit Amazon HERE. A 2026 Jazz Times feature calls Holland, “a thoroughly modern singer and cosmopolitan music-maker,” who “never wants for poise, poignancy and passion is its nuanced delivery.” Reviewing Talk to Your Tomatoes, Jazz Weekly raved that Holland “exudes warmth, class and confidence with seemingly effortless aplomb and inbred swing.” Jersey Jazz said, “She has a deft knack for bringing the words to life in a way that is uniquely hers.” Talk to Your Tomatoes, also available on CD and in digital and streaming platforms, is an accomplished collection of gems and classics from the pop, jazz and American Songbook catalogs. It also features sophisticated original songs penned by Holland and her longtime collaborator and arranger, award-winning composer Gary William Friedman, who did the arrangements for this album and also re-imagined his original Broadway arrangement of the song “How I Feel” from The Me Nobody Knows. The instrumentation for this album includes a wide variety of orchestrations that include string orchestra, horn combo and guitar along with the trio on several tracks. Stream or download the album at orcd.co/ttytsh. Holland is featured in a new music video for “Talk to Your Tomatoes,” the title track written by Holland and Gary William Friedman. The song and video are a swinging, zany, and veggie-gardening loving trip that will make even the most broccoli-averse music lover smile. Watch the video on YouTube HERE. The album features Holland's gifted trio, which features Matthew Sheens on piano, Matt Aranoff on bass, and Jeff Davis on drums. Lauded guitarist Ben Monder guests on three tracks including an intimate vocal/guitar duo on “‘Round Midnight,” and the horn combo is led by Chet Doxas, named in 2022 and 2023 in Downbeat Magazine‘s “Rising Star” Critic's Poll for his saxophone and clarinet work. The 10-track set begins with Burton Lane and Alan Jay Lerner's “On a Clear Day (You Can See Forever),” set to a fresh and swinging groove with strings and horns. The journey continues with “Help Me” (Joni Mitchell), “When These Two Hearts Collide” (Friedman/Holland), “How I Feel” (from the musical The Me Nobody Knows, Friedman/Will Holt), “Blossom” (James Taylor), “Talk to Your Tomatoes” (Friedman/Holland), “‘Round Midnight” (Cootie Williams/Thelonius Monk/Bernie Hanighen), “You Pull Through” (Friedman/Holland), “Pure Imagination” (Leslie Bricusse/Anthony Newley), and “East of the Sun (and West of the Moon)” (Brooks Bowman). 

What happens when you trust your talent before anyone else does? I had the pleasure of speaking with Spider Saloff, a jazz vocalist and performer whose journey shows what it means to truly create your own path. From secretly rehearsing as a teenager to performing for the Gershwin family and building a career in jazz and cabaret, Spider shares how taking risks, following curiosity, and trusting your instincts can open unexpected doors. We also explore her resilience through personal challenges, including overcoming an abusive relationship and rebuilding her life from nothing. You will hear how music, creativity, and lifelong learning became her anchors, and why choosing your own direction can lead to a life that is both meaningful and unstoppable. Highlights: 00:10 – Discover how a passion for music at a young age can shape an entire life path 02:04 – Learn how early opportunities and saying yes can open unexpected doors 10:00 – Understand why creating your own opportunities can redefine your career 16:20 – Hear how taking bold action led to a life-changing connection with the Gershwin family 30:00 – Discover how one decision can completely change where your life and career unfold 44:44 – Learn what it takes to break free from hardship and rebuild your life with resilience Bottom of Form About the Guest: What does it take to build a lasting career in music and performance? Spider Saloff has done exactly that, earning recognition as a multi-award-winning vocalist and entertainer known for her powerful voice, wide range, and captivating stage presence. Born in Philadelphia and raised in New Jersey, she began her journey in theater at a young age, studying acting at Rowan University and the University of London. Her early career in musical theater included more than 25 major roles, but everything shifted when she discovered her passion for jazz. That move led her to work with top musicians, gain critical acclaim, and begin touring both nationally and internationally. Over time, Spider became one of the most respected interpreters of the American Songbook, known for blending deep emotion with humor in her performances. Her connection with the Gershwin family helped launch signature shows like her tribute to George Gershwin, which has been performed around the world. She has also created tributes to icons like Cole Porter and Irving Berlin, performed at major venues and festivals globally, and hosted the syndicated radio series Words and Music. Beyond the stage, she is a teacher, writer, and creator who helps others find their unique voice, continuing to inspire audiences and students alike through a career built on passion, creativity, and authenticity. Ways to connect with Spider: Website: https://spidersaloff.com LinkTree: https://linktr.ee/spiderjazz Facebook: https://www.facebook.com/spidie.saloff Twitter (@spidersaloff): https://x.com/spidersaloff?s=21&t=XIFFgGFn7E5Hd_8J8Rexfg Spotify: https://open.spotify.com/artist/6gKiYyeoZyxZTAI2EpGWbU?si=WudPV-CUQPmMThTtV508Og YouTube (@TheMartinicat): https://www.youtube.com/channel/UCTLI-Gd51JdcMT0FVvvD9lA YouTube, “When You See Me”: https://www.youtube.com/watch?v=DTbO1FWrje4 Instagram (@spider.jazz): https://www.instagram.com/spider.jazz/ About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson  00:04 What if the biggest thing holding you back isn't what's in front of you, but rather what you believe Welcome to unstoppable mindset where inclusion, diversity and the unexpected meet. I'm your host. Michael hingson, speaker, author and advocate for inclusion and possibilities. This podcast explores how the beliefs we carry shape the way we live, lead and connect with others. Each week, I talk with people who challenge assumptions, face adversity head on and show what's possible when we choose curiosity over fear, together, we focus on mindset resilience and the small shifts that lead to meaningful change. Let's get started. Hi everyone, and I want to welcome you to another episode of unstoppable mindset, and we have an unstoppable mindseted, oriented sort of person today. Spider Saloff. Spider is a vocalist. She's a comedian. She is in Chicago, as I recall, but she has been to a variety of places. She is a very highly acclaimed vocalist, a singer. She sings and deals with a lot of the songs that I like, like the Great American Songbook, Gershwin, Irving, Berlin and other things like that. And she has a lot of accolades that come from any number of famous people who you've probably heard of. And so in the course of the next hour or so, I'm sure we're going to hear about a bunch of that. But for now, spider, welcome to unstoppable mindset. We're really glad Spider Saloff  01:49 you're here. Well, I'm happy to be here. Thank you for inviting me. Michael Hingson  01:53 Well, you are, you are most welcome. So how did you get into doing, acting, singing and all the other things that you do. Spider Saloff  02:04 Well, it started when I was a kid. I always loved music, and you know, it was so in love with the arts. But when I was 14, I came home and told my parents that I could get them tickets to the high school variety show. And they said, What? And I told them, I'm in it. I'm going to be in it. And they said, well, doing what? And I said, singing. And they were they were shocked, and I didn't tell them. I used to rehearse at my girlfriend's home because her family was all over it. They thought I was wonderful, and I knew my family would tell me that I couldn't do it so because it's just too foreign and too scary to them. So I ended up performing at this variety show, and my my parents were absolutely shocked, and one thing led to another. And then I met a theater director who worked at my school, and he came, he was a professional guy from New York that they hired to come in to do a musical, and I was in it. And I ended up getting the opportunity to be in a summer stock company and my parents let me go, which was amazing. I think they were just relieved to get me out of the house for the summer, but whatever it takes, but I certainly learned a lot, and I was very young for that experience, but it was, it was so, so worth it. And then after I finished high school, I went to college for theater. Now, your parents are from Russia. Oh, no, no, no, no, they're descend. My father's descendants are from Russia. That's where the name is from. But they are, I think I am about 11 different nationalities. So it's we're real much we are real much of the world. Well, there you go, yeah. Michael Hingson  04:05 So now we need to just clone that combination, since obviously you sing, well, we need to get that in other people, just just, you know, just a thought, you know, Spider Saloff  04:16 sounds good. Sounds dangerous to me. Michael Hingson  04:18 Actually, I know it's either that or we're gonna Spider Saloff  04:21 have to get more, more of one than more than one of Michael Hingson  04:24 me, more than one spider? No, we can't have that. Well, either that or we get AI to to imitate you. But we don't want to do we don't want to do that either, scary stuff. 04:35 Yeah, yeah, it is. Michael Hingson  04:36 Well, so how did you encounter and come up with the name spider. Spider Saloff  04:44 I did not choose it. I, you know, I never thought that my real name made any sense from the time I was a child, it's, I'm like, that doesn't make sense. And then I got the nickname when I was in college, because I have, I'm. Really a small person, but I have very long arms and legs, and it was a nickname, and it just stuck with me. And then finally I surrendered to it as a professional name, and people don't forget it. They may not like me, but they don't forget the name. And then it just stuck. And it's been that way ever since, how could Michael Hingson  05:20 somebody not like you? Spider Saloff  05:23 Well, I don't know. I'm sure there's somebody out there. I would love to thank everyone. Just endorse me, but Michael Hingson  05:31 we'll see. Well, yeah, I mean, it'll all go so where did you go to college? Spider Saloff  05:37 I went to a college that doesn't exist anymore, actually, now it is Rowan University. It's in New Jersey, outside of Philadelphia, and it became Rowan University when it got the largest private donation in history. But it was a state college called Glassboro State College, and it was a fine arts school at the time. There were several of my friends, including the conductor for the Lion King and Broadway people, all went to school there, and now it has no arts program at all. But part of our program, I did get to study at University of London too. So that was really exceptional. And it was so wonderful, a wonderful school, great opportunity. You know, it's, it was outside of Philadelphia, close to New York, and now it's an engineering school. For the most part. There isn't, there are no fine arts there at all. Well, that's too bad. But, well, yeah, I know, but somebody's got to do the engineering, Michael Hingson  06:39 I guess. I Well, there's truth to that too. Now, have you seen THE LION KING LIVE on Broadway? I have Spider Saloff  06:46 never seen it, and it's never seen it. I gotta see it. I've got to see it. I it just never happened. I kept intending to go and I never saw it. And I know people that played for it as well. 06:59 You've seen the movie. No, you haven't seen the movie Spider Saloff  07:02 either, anything Lion King. My goodness, I know I better. That's one of my goals. By the end of the year, let me see if I can see it. Michael Hingson  07:10 Well, I'll tell you my lion king story. A my brother in law knew someone who knew some of the actors in Lion King, and he and his wife and their little girl, who at the time was like three or four, were coming through New Jersey, where we lived in Westfield, and we all arranged to go see The Lion King. It was a Wednesday afternoon. It was a matinee, and near the beginning when scar, the bad guy meets the hyenas, who he works with, they all come on, they come on stage and they're growling and all sorts of things like that. Well, in the theater, the hyenas come from the back of the theater, down the stairs, and they walk past everyone growling and making all these noises? Well, my wife was in a wheelchair her whole life. She was a t3 paraplegic, and when one of the hyenas came up next to her, because we were able to arrange for an accessible seat, which was right on the aisle, this hyena comes up right next to her and goes, you've never seen a woman who is totally paralyzed suddenly literally jump up and almost walk out of the theater. It was amazing. She he shocked her completely. But it was so much fun. And of course, Alanya, the little girl, was just there with these big, huge eyes over all of this. But what Karen, my wife, told me later was that what was interesting about it was that when she was obviously watching all of this, and she said, You got totally used to the the puppets being the animals they were. They didn't you. They didn't even look like puppets anymore. They were just the animals. Spider Saloff  09:05 And that's exactly what I've heard about it, that it's like, it was fascinating. You're completely swept away with it. Michael Hingson  09:10 Yeah, wow. So, so it's cool, but, yeah, you gotta, you gotta go see The Lion King. It is absolutely worth it. The music is wonderful and all that. Wow. So we got to see it on Broadway, which was cool. Well, so you, so you went to college, and then what did you do? Spider Saloff  09:32 Well, when I got out of college, I, you know, was doing theater, but I ended up in musicals because I sang, and I really my training, my formal training, really is acting. I did not train as a singer. I just started singing naturally when I was a teenager, and then I just did a ton of musicals. I was in musicals like forever and but. I always loved jazz, and that was always in my back pocket. And then at one point, I really decided I wanted to pursue jazz while it was still in musical theater, because it was getting harder and harder to get roles, because they wanted, this is in the late 80s. They wanted you to be a dancer as well, and that was not going to happen for me. So I really thought, you know, I just, I want to check out the whole nightclub scene, you know, in Cabaret, where you could produce your own show. And so I started to really pick the minds of the guys in the pit band. And I talked to all these pit musicians, and they would tell me about, you know, places to go, and how they there were guys I met there that introduced me to other people, that helped me to do my first demo, and then started working in clubs. And then that really changed everything for me. Michael Hingson  11:01 So you got very much involved in doing a lot of Spider Saloff  11:04 jazz, yeah, jazz and cabaret, and it was all small clubs. But then that was what got me major press attention. And then I started touring with a show that I co wrote with a guy named Ricky ritzel, who's from New York, and we did a show called 1938 and that was my first recording as well. And then then just kept going from there, and that's how a lot of things happened, was really just deciding to do my own thing and create my own world of performance. So you're also Michael Hingson  11:45 known for doing something related in one way or another to comedy? Spider Saloff  11:50 Well, yeah, I've always done comedic roles, and I can't say I have ever done stand up, but I may be getting close to it, I'm not sure, but I always involve a lot of comedic monologs in everything I do. Like, if you see me at a jazz club, I will tell stories. And, you know, it's part of, part of who I am, is a lot of the comedy stuff. And, you know, crazy stories and telling stories about people, and, you know, doing imitations of people that I've met over the years and that kind of stuff. So it's, it is part of my whole persona on stage. Michael Hingson  12:33 What's your favorite musical that you've done? Boy, it's probably a toughy. Spider Saloff  12:40 I did so many, I have to say, Guys and Dolls. Okay, guys and dolls. I was Adelaide and Guys and Dolls, one of the best roles I've ever done. It was really a good choice for me, and and I, and I have to say I was in what, four productions of Fiddler on the Roof, and I've been two seidels, one Hava and fru masera, so but I love that show. I think it's magical. Michael Hingson  13:21 Just it is. Have you ever been in numb? I like Guys and Dolls, but my favorite, and it's just been that way for a long time. I don't know why was the music? Man, were you ever in the music? Spider Saloff  13:32 Man, I was, but there's no, there's no role in that for me. But I was one of the pick a little ladies. Oh, it is one of my favorite shows. Though, I think it's a masterpiece. I love love love music, man. I think it's just brilliant. Michael Hingson  13:48 You don't think you could have done you? Lily capecni shim you know, Spider Saloff  13:53 I was too young to do it at the time. Michael Hingson  13:54 Yeah. Well, like always, now there's always Marion, Spider Saloff  14:00 no, I don't have the soprano chops for that. They let me do it in Sutton Foster's keys. Well, I was thrilled that they took it down for her, because I could actually do it in those keys. That would be great. Michael Hingson  14:16 I saw it a couple of times on Broadway. Now I'm blanking out on the person it was in. Well, we saw it in, like, 2002 1001 and I'm trying to remember I'm blanking out on the person who played Marion. She actually ended up getting Lou Gehrig's disease and passed away. Spider Saloff  14:43 I don't know who. I don't know, which Michael Hingson  14:45 totally shocked us. Spider Saloff  14:46 I'm drawing a blank, I don't know. Michael Hingson  14:48 Yeah, I'm blanking out on her name. I may think of it, but, Oh, forgive us. She did a she did a great, a great job. But, yeah, but there's nobody like Robert Preston to play Harold Hill. And. Spider Saloff  15:00 Anyway, oh, that movie is so beautiful. I love that movie. Yeah, music, man is brilliant. It really is brilliant. Well, that Michael Hingson  15:10 goes back to, you know, Mr. Mr. Meredith. Meredith Wilson, Spider Saloff  15:18 yes, and I read, I read his book. Have you ever do you know of his book called he doesn't know the territory? Michael Hingson  15:27 No, I'll have to see if I Spider Saloff  15:28 can find writing and production of music. Man, I love, love. Love that book. And it's about all the trials of getting it produced and how he did. They did one of the opening one of the readings when they were trying to raise the money to do it. And moss Hart. Moss and Kitty Hart were there, and they hated it so much they walked out the middle of it. Opening Night, moss Hart was there, and he he saw, he saw Meredith Wilson in the lobby, and he shook his hand, and he said, he said, Great show. But you know what, you still haven't licked that book. Oh gosh, because he was an outsider. I mean, he wasn't part of the Broadway team. And no, the fact that he actually played with a John Philip Sousa, like, what, yeah, couch or something. It was real deal. Like, real real, like, old timey marching band stuff. Michael Hingson  16:35 Yeah, amazing. Well, then he also did The Unsinkable Molly Spider Saloff  16:39 Brown, yes, yes, another great show, yeah, not produced very often. But no, Michael Hingson  16:45 no, it's not. It's, it's sort of sad. Oh, well. But you, you've been very much involved with with a lot of jazz and so on. Tell us about meeting the Gershwin family and and your your involvement with Gershwin, which, you Spider Saloff  17:01 know, he, of course, magical. It was. It was truly a life changing event for me, my partner and I, Ricky ritzel And I had been doing 1938 and then we decided to write this show that was called Porgy and Bess, a cabaret concert, oh boy. And it was in New York, and a very powerful guy from ASCAP came to see it, and Michael kirker, and he came to see it, and he said, this show is brilliant. He goes, but you guys are going to get shut down by the Gershwin family, so you need to call them and see if they'll give you permission. So I had the phone number for Leopold godowsky, the third who is the nephew of George and Ira. His mother is Frankie Gershwin, who was George and IRA's younger sister, and I was a wreck. My hands were shaking, and I called him on the phone and and he was very polite. He just had this incredibly mannered guy, you know, it was really lovely. He goes, Well, you know, I don't see that we could allow Porgy and Bess be performed in a night club, and it wasn't like we were doing the show. We were just right. We were telling a story about how it was written and then just performing the songs as separate entities, but they were enfolding into the story. So I said, Would you would you want to comment? Would you want to see it? If we put it on a videotape, and he goes, Oh, I don't know. He goes, let me think about it. So then I called him back right away. I had the nerve to call him back again. I said, Well, would you come to see the show. He said, you know, what would you and your partner be willing to come and perform it at my home in Connecticut? There you go. And I'm like, What? What? So this whole thing got put together, and we went up to the Gershwins home in Connecticut. We met Leopold and his fabulous wife, Elaine, and they had, they said, we're having, we're having 40 close friends here for dinner. They were cooking dinner themselves, and it was this magical house in Connecticut. They had 40 industry people there. It was crazy. I mean, there were all these famous people there, and we were, we did like, as he called it, a 30 minute musicale. We did highlights from the show in their living room by the great. End piano, and I believe the piano had belonged to George, because Leopold is classical pianist as well. So we did the show, and then we all had dinner, and this friendship started. So what evolved was they, they did, let us do the show, but then my relationship continued with them, and when the Gershwin Centennial started in 1996 it was Iris 100th birthday, two years before George's. In 98 I became part of the centennial presentation, so I got to tour with my Gershwin concert under their brand, and also record my Gershwin album with their brand on it. And it was the beginning of a beautiful friendship. And it was, it was a huge, you know, a huge mark in my career, and it opened a lot of doors for me. So wonderful, wonderful people. Michael Hingson  21:03 One of my favorite pieces of all times. Calling it a piece is probably not totally accurate. It's bigger than that, but one of my favorite things from classical music has always been Rhapsody in Blue. And I don't know why, but the very first time I heard it, I loved it, and I've enjoyed it ever since. I've heard the Boston Pops do it, you know, and and others do it. It's just one of those neat things I've just always loved. Spider Saloff  21:30 I'm getting chills just talking about it, because that was so groundbreaking at the time when Paul Whiteman had the contest right of who was going to be able to cross the borders of jazz and classical. And you know, who else was in that contest was Aaron Copland, oh my gosh, Eric Copeland, and he was always in competition with Gershwin, yeah, and Gershwin won and musically, that that changed the whole concept of jazz, I mean, to be accepted in a classical arena. It was really remarkable. What that what that piece did, like, amazing. Michael Hingson  22:18 I actually heard once the Paul Whiteman arrangement of Rhapsody in Blue was performed by a group I don't even recall where, but it was outside. It was a little different, but it still was just so neat to hear this. Spider Saloff  22:36 The first person to hear it, yep. I mean, Paul, my Paul Whiteman was incredible, though. I mean, what a what a groundbreaking person. He was artistically, right? Michael Hingson  22:48 Yeah, he, he did some amazing things, Spider Saloff  22:51 yeah, yeah, you know what I've got to mention. And I hope this doesn't make make our interview too dated. But last night, I saw the movie Blue Moon. That is about about Larry Hart. Oh, my God, I haven't seen that. I'm gonna have to. It just came out last week. Oh, okay, it's not gonna be very often. It's absolutely gorgeous, and Ethan Hawk plays Larry Hart. It it's it's beautiful and funny and heartbreaking, and it all the whole premise is Larry Hart has to go to opening night of Oklahoma, oh gosh, and how painful it is, and this whole cathartic thing he's going through. So the bulk of the entire it's more like, like a theater piece. The whole thing takes place at the bar at Sardi's when he's talking to the bartender and waiting for for Rogers and Hammerstein to show up. And it's, ah, Wowza, it's brilliant. It's brilliant. And talk about, I don't know how they ever got that produced, because it's definitely a movie that's not going to appeal to everybody, but boy, is it brilliant. Michael Hingson  24:14 Wow. Well, hopefully it will come out in some place where I can can watch it up here, and that'll be cool, yeah, Spider Saloff  24:22 and I think it's probably going to go to streaming pretty soon, I'm sure, yeah. So you'll have a lot of opportunities. But I really was happy to go to the theater and see it. But wow, and people in the audience were laughing at all the jokes they were getting, all the sly, Sly comments of Larry Hart, like, wow, witty, witty, witty, just brilliant, just brilliant. Michael Hingson  24:51 Well, your whole Gershwin relationship, obviously, is pretty significant. You even did some Gershwin concert. In Russia, Spider Saloff  25:02 yes, yes. That was why I went to Russia. They were having a Gershwin Centennial in St Petersburg in 1998 because that is the, that is the origins of the Gershwin family. They are from St Petersburg. And so I was hired with my pianist to go to St Petersburg. And do we? Did we were there for seven days, and I think we did like five concerts, and it was amazing to be there, because this was when Russia was getting good. This was, like the good part, and still was scary. It was scary. We stayed in this really creepy hotel that was like a government hotel, and the rooms were bugged. And then when the hallways there were padded walls, like where they could pull these panels out, and there was all kinds of wiring in there, bugging and strange stuff. The concert hall was absolutely magical. It was an old concert hall, and people went crazy, and when I sang the song vodka, which is an oddity, by Gershwin, by way, herbert stothard, Otto Harbach, Oscar Hammerstein and George Gershwin wrote this crazy song called vodka. And when I did the song, people stood on their chairs and screamed, the Russians just loved, loved, loved the concert, the audiences couldn't have been better, and the people that ran the organization couldn't have been weirder. It was, it was very strange. And when we went to leave, the guy that booked us and me and my pianist, they they took our passports, and we had to go to a little room where they said that we our visas were expired and and we had to pay money to get out of there, and they were mad at the guy that was our manager, because he sassed them. And anyway, we had to wait. We were afraid we're going to miss the plane. And then finally, they came out with, like a little, a little tape from an adding machine, and they, they said, you have to pay $58.23 American. So they charged us this $58 and we paid it and ran to get on the plane and and I'm like, I was never so scared in my life. I didn't know what they were going to do, but it was an experience, and it was thrilling and beautiful. But don't think I'm going back to Russia, not in the near term. Yeah. Oh, and then that's when all these people said, my name is sell off. You are my cousin. I come home with you like there were so many people with my name, because in this country, there aren't that many. Aren't that many sell offs. My family is pretty small, and occasionally I'll meet us a sell off. But they're usually, they're usually rabbis, or it's like there aren't that many of us out there, but it was, it was an amazing experience. Loved it. Michael Hingson  28:28 Now, did you when you were over there, sing any of the songs or anything in Russian, or did that matter? Spider Saloff  28:34 Oh no, oh no, let's didn't do that, huh? I'm not. No, I, you know, I'm good at doing accents, and sometimes I will learn to say, like I would learn a little bit of French to get by, but then they would start asking me questions, and I didn't know what they were saying, and then they thought I was just being a jerk, you know, I'm pretending I don't understand them or something. But it was, No, I don't speak. I can barely handle English, but I didn't know whether you might have Michael Hingson  29:05 tried to learn one of the songs just for fun. Spider Saloff  29:08 There wasn't time. This went together so fast. I think we only had, like, two weeks notice. They had rushed the visas and, you know, we had, we had passports in order, but it was a lot of legal red tape. Michael Hingson  29:25 But that's why it cost $58.33 to get out. I don't know, very crazy one of those things. Oh, yeah. Well, well, at least it was affordable. Spider Saloff  29:41 Well, it will, and it was exciting. I mean, everything was paid for. But, oh, this was another weird thing they paid. They paid us in cash, American dollars, and I needed to hide, I had to hide it in my boot. I put it in. Hide the soul of my boot when I'm okay, wow, yeah, it was, it was creepy all the way down the line. It was very strange. Oh, well, yeah, things happen. 30:11 Things happen. Yeah, I was, Spider Saloff  30:12 I'm very, very, very fortunate that I got, got to do it, yeah? Michael Hingson  30:19 So obviously a wonderful memory. And yeah, oh yeah, one of those things that you'll you'll always treasure. You bet. Well, so when did you move to Chicago? Spider Saloff  30:32 Oh, well, when? When I started to get get my feet wet in New York, in the nightclub scene and the jazz scene, I got some really fabulous reviews, including the New York Times. And there was a guy from Chicago who I met through the great Julie Wilson, and his name was Bill Allen, and he was partners with Bobby Short, and he opened this really crazy club in Chicago, very famous, called the Gold Star sardine bar. And both Liza Minnelli had played there the Basie band. He squeezed the Basie band in there, but it was this tiny little place right in downtown Chicago, and it was really wild. And a lot of people had played there. Tony Bennett had played there, and Liza and I kind of was courting the room. I kept talking to him. He had he had found my press kit. Think he had been sent three different press kits, and we don't know which one he opened, and he called me, and we kept this ongoing conversation about coming out to do performance there, and then finally, he decided to bring me out for New Year's Eve, and my husband and I flew out, and it was just we were we had a couple of friends here in Chicago that we visited, but we didn't know anybody here. I'd never been to Chicago, you know, but it was magical. And then he said, Well, I'm going to have you back. I'm going to have you back. And then I didn't hear from him. And finally, the following September, he asked if I could come and play for a month, and I had almost no warning, because he was very impulsive and really crazy. So he asked me to come out for a month, and I did. They put me up in a hotel, and I played with the musicians. Were magical. People were so great. And so I played for a month, and then he said, you know, what would you think about about moving here? And my husband and I were both excited about it. Then we didn't hear anything from him. And then right after So, the first week of February the following year, he calls me up and said, Could you move here? And I'm like, I guess so. Why he goes, Well, I'll book you here for a year, and we'll arrange to get an apartment. And can you start like next week? Oh, gosh, ah, so I did it. I came out, and then my husband came out. We took a sublet on an apartment right downtown in Chicago, sight unseen. We moved here with our cat, and the rest was history. I ended up having the best nobody has a gig for a year, yeah, and and hired partially by the only person that had a gig forever, who was Bobby Short. So because I had met Bobby Short in New York, and he kind of gave bill the okay, you know, he liked me. And then I, I met Tony Bennett there, and Liza interrupted my show one night and crawled on to the over the balcony, onto the stage. And it was magical. There were lines around the block and and I got, I was courted by the press in Chicago like you wouldn't believe. I mean, it was magical. So when my run was up there, I started working at other clubs, and also I started touring at concert tours of my shows, like the Gershwin show, and started to tour. So it just became another life for me. But I'm, I'm in Chicago forever. As far as I'm concerned. I adore it here. I just love it. Michael Hingson  34:45 So when did you move there? Spider Saloff  34:47 The beginning of 92 Michael Hingson  34:49 Okay, all right, so when Liza, when Liza invaded the stage? Did you guys sing together? Spider Saloff  34:55 No, this is what happened. I had met Liza. Yeah, well, I was still living in New York, and I was friends with Billy Stritch, who was liza's musical director. So he was a friend of mine, and he introduced me to Liza, and because she was he was conducting a bit that big show she did at Radio City Music Hall that was a tribute to Vincent Minnelli. Right? She did this spectacular show at Radio City, and Billy was musical directing, and that's when they really became partners. And he introduced me to Liza, and she was just a doll, one of the nicest, coolest people in show business. So I met her, and she was really kind to me, very friendly, very sweet. And so they were playing at the Chicago theater. Liza was doing her one woman show, and it was closing this particular Saturday that I was at the Gold Star, and I had sent Billy a note to to, you know, come by when they're we're done. So I'm doing the second set. And then crazy Bill Allen at the break. He goes, he goes, Okay, people are going to come in here. Joe Pesci is going to come in and and he's going to come up and meet you. And I'm like, Joe Pesci. Joe Pesci was doing a movie here, and his double, his gangster double, used to come in and see me at the gold star. So anyway, the break comes, I'm on stage, and all of a sudden the door opens, and they come in, and it's, it was Billy and Liza and Joe Pesci. And Joe Pesci comes up on stage with Billy and my band kind of crawls off the stage, because by now, there are, there's about, I don't know, 200 people packed in a 70 person room, and their people are coming out of the woodwork. They're like, sitting on top of the bar, and I can't even get off the stage. And Joe Pesci. Pesci leans down, he's like, hey, hey, honey, my my double. He thinks you're great. He goes, Yeah, we're gonna do some songs now. And I'm like, okay, so I sat there, and Billy came up and played. The bass player was there with them. Joe Pesci got up and sang. He was adorable. And then Liza is sitting right by this. They called it the opera box. There was a big, like private table that was right next to the stage. She crawls over the bar onto the stage, and people are just screaming. It was absolutely nuts. And she did like three songs, and she was losing her voice. She had just done a killer thing at the Chicago theater, and she was really, like, raspy. Did it anyway? And she ended with New York, New York, and people were like, screaming. It was just bonkers. It was bonkers. And so that's what the Gold Star was like. It was just a crazy place, and you didn't know who was going to come in the door, who was going to interrupt your show? You just, you just didn't know. Michael Hingson  38:24 Yeah. And they even had the Count Basie orchestra there, and that was, how'd they fit him? How'd they Spider Saloff  38:30 fit him in? Couldn't fit them. It was like a publicity stunt, yeah, and the band was all stuffed in there, and there were a few people that could get in the room, but people were standing in the hallway to hear Pacey pants. This is way before my time. Yeah, it was like in the early 80s, when they opened and they were way crazier then, then when, when I came, Michael Hingson  38:53 you settled them down. Did Spider Saloff  38:55 you No? No, but they, they, they, well, I was there for a year, and then the following year, I went back a few times on Saturdays, and then Bill told Jeremy Conn and I that we were going to be the regular actor because they were always on the verge of closing. They wouldn't have any liquor, and somebody would be coming in the back door with liquor because they didn't pay their liquor bill. And it was, he was in a lawsuit. And anyway, they told us that he goes, Yeah, yeah. Call me on Tuesday and we're gonna we're getting all the details straight. Now. You guys are going to be regular. Here Tuesday came and there were chains on the door. Oh, gosh. And that was the end of it. It ended, and it was a magical time, but there were a lot of problems, a lot of legal problems going on. Michael Hingson  39:50 I met Liza Minnelli once. That was the second or third time I was interviewed by Larry King, and she was now. She was going to perform on the show as well, but it was after September 11, and so I got, I got to meet her, and that was about it, but I did get to meet her, which was fun. Exciting. It was fun. How exciting. And every time we walked out after the interviews, there were lots of photographers outside. Everyone was taking pictures, and we had to put up with all that, but I guess it provided a lot of visibility, but it was kind of fun to be able to do that. Spider Saloff  40:34 How cool. I never met Larry King. I knew a lot of people were on his show. But well, how exciting that you did it twice? Michael Hingson  40:43 Well, actually we there were five interviews with Larry. The first one was right after September 11. It was on the 14th. And then there was another one. There was either one or two more. I think there was one more in November of 2001 and then on the anniversary, in 2002 was the third. But there there were five altogether, and during one of them, and I think it was the one on the anniversary or in 2002 but I have to go back and see if I can research it. But anyway, Hillary, Hillary Clinton and Chuck Schumer were, were there? Lisa Beamer, Todd Beamer, his wife Todd's the guy who said, let's roll on flight 93 when they took over the plane again and got it in a crash in Shanksville. Wow, and and Queen. Nor was there. So who I'm sorry, Queen nor from? Who is the queen of Jordan? Oh, wow. And she and she and Roselle had a thing for a while. Roselle was my guide dog at the time, so they visited. It was kind of fun. Oh, wow. But, yeah, it was, it was interesting. But as I say, then we, we did meet Liza briefly, and that was kind of fun. She said she's Spider Saloff  42:09 a doll, yeah, doll. Oh, yeah. What a great person, yeah. Michael Hingson  42:13 Well, so I was looking at all the things that you sent me, and I noticed Tony Bennett. I got to meet Tony Bennett once we were on Regis and Kelly live in November of 2001 and I was sitting there, and I heard that Tony Bennett was going to be on the show. And suddenly he comes over and he says, Hey, I'm Tony Bennett. Good to meet you. I've heard about you. So we chatted for a while, and he and Roselle had a thing too, and he and Roselle had a thing too. Spider Saloff  42:45 So that was good. Oh, that Roselle. Oh, but yeah, I met him at the Gold Star, and he because he had played there several times, you know, as a future act. And he was doing, he was in. He was in town to do something. Maybe it was at the Chicago theater as well, but he came in, hanging out in his in his white dinner jacket, absolutely charming. And he sat down and talked to me between sets. It's like talking to your uncle, like he's like, Yeah, what do you think of this weather here in Chicago, and it was like just the friendliest, most laid back, cool guy and and I've seen him perform several times. I adored him. Michael Hingson  43:32 I regret I never got to see him live other than hearing him do, other than hearing him on regents and Kelly, he did a New York state of mind. Spider Saloff  43:41 Oh, cool. Very cool, Michael Hingson  43:43 wow, very soft spoken guy. But when he can sing, he can he could Bell it, Bell it out, Spider Saloff  43:49 and he and he sang the same forever, like, that's my my idols are. I want to sound the same forever, and I have the two, the two, the two most remarkable preserved voices were Ella Fitzgerald and Mel Tormey, both of them, they had chops forever like that. They they were just very, very careful and smart about the way they use their voices. Michael Hingson  44:18 Yeah. Johnny Mathis lasted a long time. I don't know what he sounds like. Spider Saloff  44:24 He just sounded the same forever. Yeah, killer, woo hoo, wow. And I never got to see him live, but I know people that did, and I mean, not that long ago, and they were blown away. Like, just Yeah, killer, yep, Michael Hingson  44:43 amazing, another amazing guy. Well, so have you ever had any any real kind of challenges and sort of negative things that have happened to you in your life? You've obviously been very successful. And all that. But, you know, unstoppability oftentimes happens when you have a challenge. Spider Saloff  45:05 Oh yes, well, you know, small things, challenges. I mean, like the worst, though, was when I was very young, a young actress, I got swept away by a guy that was a director. He was 10 years older than me, and I ended up in a really terrible abusive relationship for years, and didn't know how to get out, and I did. I ended up doing a six part. I have a YouTube channel, and this was two years ago. I did a six part series called learning to love you, and it was the very subject of what happens in abusive relationships and why people stay and why they are convinced that they can't live without the person. They're convinced that they're powerless. They are told they have to depend on this person, and they're very afraid. And I I was so lucky to break away from there and get out. And when I got out. I mean, I this guy completely left me with no money, no home, no job, and I was so ashamed to tell my family. I didn't tell them till months after it had happened, and I went, you know, trying to get trying to get more work as an actress. I worked as a bartender in a comedy club, and I did that's what I had a lot of comedian friends because of that era, and my friends, and eventually my family, really helped me to get out of it. But I had to get I had to be independent through the whole thing, I my first place I ever I was homeless for six months, and I would go around on busses going between wherever and Atlantic City because the casinos were there. So I could get a free ride to Atlantic City and then get a free bus back to New York. I could get a bus back to Philadelphia. I could go around on these busses and just stay at people's houses a couple of nights a week, and not having a place to live, it was horrible. So when I finally moved somewhere, I moved in with an actor friend of mine who had just got out of his abusive relationship, and I slept on the floor of an attic for like, the first six months that I was living on my own, and I was so grateful to have that floor and and I just kept saying every night before I went To bed, it it gets better from here. It's going up, it's going up, and it did. It did. It was it's remarkable. It's remarkable. Michael Hingson  48:09 What? What did you learn from that relationship? Spider Saloff  48:14 Beware of predators. I really never, never lose sight that you're the person in charge. Yeah, you are the person in charge of your life, and you're the only one that's allowed to do that. And you don't, you don't bend to anybody that's asking you to do anything too far. You just, you have to be very skeptical about, you know, who's getting close to you? And I was married long after that, I was married to my husband, and he passed away, oh, 16 years ago, and but there's been, there's been a lot of strange loss and and trauma. But I I am blessed with resilience, and I have to say, the thing that keeps me steady music, music and beauty and art can carry me through anything, and I'm surrounded by that and the best, best, best friends in the world. Oh, man, and my family and my friends are amazing, and I'm very, very fortunate, very fortunate. Michael Hingson  49:32 How long were you married? Before he passed away, Spider Saloff  49:35 we would have been married 17 years. Oh, my wife, Michael Hingson  49:41 my wife. My wife and I were married 40 years. She passed away in November of 2022 lot. Well. Thank you. I appreciate that. And I I always say when I when I tell that to anybody that she's watching from somewhere, and if I misbehave, I'm going to hear about it, so I don't even. Chase the girls. I also point out that they're not chasing me, so it's okay, but, but, but, you know, so many wonderful memories after 40 years, and people say, Well, are you going to move on? And I say, No, I'll never move on. I'll move forward, but I won't move on. I don't want to forget, but I'll move forward. Spider Saloff  50:20 That's an interesting twist of words there. Yeah, no. I mean, I have moved my life has become, actually, way, way better since my husband passed. I was dealing with a lot, and he was, he was dealing with severe mental illness, and it was very it was very hard near the end, my life is beautiful now. And I, I'm just, I feel like everything is new all the time. And I, I don't really have any close relationships, in romantic relationships. I tried a couple since he passed, but I don't, I don't think I'm good at it. I do better on my own. I'm much better on my own. Michael Hingson  51:18 Yeah, yeah. I know what I know what you mean. And as I said, it'll be three years in two weeks for me and I, when we got married, we had both lived alone. And when she was when she passed, it wasn't totally all of a sudden. So I I had some time to prepare. But it it has worked out pretty well. And so now I have a dog and a cat who keep me honest. The cat especially, oh, we have a cat. Her name is stitch, and she likes to be petted while she eats, and she'll yell at me until I come and pet her while she's eating and what. And when I travel somewhere to speak and I come home, I hear about it for quite a while. How could I ever do that? But she's not left alone. You know, I've got somebody who comes in. She has to give me what for? Well, she does. That's her obligation. Just ask her, absolutely, yeah. And how come you took that dog with you and not me? It's a guide dog. Spider Saloff  52:20 So this is not fair, yeah. Michael Hingson  52:24 Well, the other side of it is, I don't want her to ever get the idea that she can go out of the house. She She developed, on her own, a fear of going outside we she went out into our garage once when we first moved in here, and I kept calling her, she wouldn't come in, so I turned the lights off and I closed the door, and 10 seconds later, she's at the door wanting in, and so she doesn't try to go out. So I really feel blessed that she Spider Saloff  52:49 Yeah, that's good, yeah, yeah, yeah. I had a cat that never wanted to go near the door either, because he had been an alley cat. Everything outside that door was the alley going back there. Yeah, he also was a, he was a big fat house cat. Like, just wanted to lay around and luxuriate and eat and, you know he was, he was really a sweetie. I don't have pets anymore because I'm I leave too often? Michael Hingson  53:21 Yeah, you travel a lot. Well, a lot we at least I have people to help take care of stitch when I'm not here. So it does work out. Yeah, so do you so with all the things that you've been doing and singing and so on, do you teach voice to people? Spider Saloff  53:40 I do. I've taught at a school I didn't start teaching till I moved to Chicago, and this guy named David bloom, he's kind of a Chicago icon. He's had a jazz school in Chicago for years, and he asked me to teach at the school about a year after I moved to Chicago, and I said, I don't know how to teach. He said, Yes, you do. You just teach what you know. And I started teaching. And then I did courses there for a long time. I met a lot of people, and I've had wonderful students, and I still work there on occasion when we have a course. But I teach privately now, and I am. I just love it so much. I mean, I learned so much from my students all the time. You know, they're, they're just amazing, and they're all different, all different voices, all different age groups, all different reasons why they want to sing. But it's, it's one of the joys of my life. Students, they're fantastic. And I adore teaching voice. And I really a coach, you know, I teach performance and coaching, and it's not so much technique. I do some technique, but mostly it's working with. What, what the singer has to offer. Michael Hingson  55:03 I like the way you put it though that you learn so much from students. I think the day we stop learning, the day we become useless, we we always need to learn, learning, and life is all about learning, every Spider Saloff  55:15 day, learning, you bet it's exciting. It keeps you ticking. Michael Hingson  55:21 It does. It's so much fun. And it's, you know, like the internet, I regard it as an as a wonderful treasure trove. There's always neat stuff to learn. So I don't worry about the so called dark web and all that. You know, I didn't know that I would Spider Saloff  55:35 learn as much as I did about, you know, the internet and and the things covid really well. I always, always had a website. I had a guy that became my webmaster, that heard me radio and like there were all. I always was connected with it. But to the extent that I learned how to produce videos that all happened during covid, I really thought I was never going to be performing again live. I you didn't know, you know, that talk, you know, it was just so such a weird world. All of a sudden it was but learning to adapt. That was what we all learned from covid, was adapting and being open to new experiences. You know, that was a major, major factor of the whole thing. Michael Hingson  56:23 And living alone, you have to cook your own food. Spider Saloff  56:25 And like I've always, cooked my own food. Oh, my God, do I love to cook. Yeah, every day for myself. I love cooking and throwing parties. I must be Michael Hingson  56:35 a little bit lazy. I enjoy cooking. But when Karen was here. We shared the responsibility, and it's it's a lot to cook for one person, so I don't do as much of it as I used to, but I don't suffer. I will Spider Saloff  56:50 point that out you guys suffer, no, but I probably I cook for myself. Every day I cook. Almost everything I eat, I don't cook for myself is when somebody magically takes me to dinner or I go to somebody's house. I've got a lot of friends, so I get to eat at other people's houses and go out to restaurants, but I do and look forward to cooking for myself. I just can't wait to see what am I gonna have today, like I get excited about it. You know, it's a joy for me. Michael Hingson  57:23 I cook more easy meals, but I also do my own cooking. I mean, I don't go out very often, and that's fine. Yeah, I enjoy being home. I enjoy being home with a puppy and a kitty and listening to the radio and all that sort of stuff. So I hear you fabulous, fabulous. So you did some work on on radio series. Spider Saloff  57:45 Oh, yes, one of the, actually, the very first pianist that I worked with at the Gold Star sardine bar is a guy named Brad Williams. And we've been friends for years, and then at one point, this, this this guy that was a big fan of mine, Bill Sheldon. He was an old way, older fellow. The three of us created a radio series that's called Words and Music, that's about the American Songbook, and we were on the air for two and a half years. We were on we were part of NPR, and we were syndicated internationally, all through our classical station here in Chicago, W FMT, and it was the most challenging but wonderful time to crank those shows out. We never worked so hard as we did for that show, but those are still out there, you know. And we the copies of that show are available on CD. People can purchase them, and you can learn about that on my website too. Michael Hingson  58:49 I have been collecting old radio shows since 19 Well, let's see, probably 1968 and I've collected a bunch, and I'm also part of the radio enthusiast of Puget Sound, so we recreate programs every year. So I wasn't able, I wasn't able to be at the one that they did up in Washington State in September, because I was speaking somewhere. But there's going to be another one around. Well at Christmas, it's actually going to be the fifth, fourth, fifth and sixth. I think it is. Of December, we're going to recreate something like 12 or 13 different shows, and that's a lot of fun. Spider Saloff  59:34 Wowza, what are the shows like? What is it comprised of performance or recordings or what? Michael Hingson  59:42 No, no, we're actually going to perform live up in Washington, and people are invited to come and be in the audience, and they'll also be broadcast on yesterday usa.com and yesterday usa.net whichever you go to yesterday, USA is a, is a network. It's, it's got a red net. Work in a blue network, just like NBC used to have, and they play old radio shows and a lot of interviews with people. So there's still some old radio actors who will be there as part of it, Carolyn Grimes, who played Zuzu and it's a wonderful life will be there, and Beverly Washburn, who was on the Jack Benny show, and and there'll be other people, and it's kind of neat. And Larry Albert, who will be doing some of the voices, and who's was Harry Niles for years, and still is, I guess, on NPR and and so on. But it's really fun. Spider Saloff  1:00:39 That's excellent. What a blast. Yeah, it is, wow. Well, have a happy holidays with that. Michael Hingson  1:00:46 And yeah, well, I want to thank you for being here. How do people reach out to you, if they'd like to, to reach out, or if you Spider Saloff  1:00:54 want them to my website, spider jazz, calm, and you can find everything and too much information about me, and then, and if you want to get in touch with me directly, write to my email address. Spider jazz@gmail.com makes it easy. And maybe you can take private lessons, because I teach on Zoom. Ah, there you go. Me how. Yeah, cool. Michael Hingson  1:01:20 Well, thank you for being here, and I want to thank you all for listening today and watching whichever you do or both. Love to hear your thoughts about our conversation. Feel free to email me. Michael H, i@accessibe.com that's m, I, C, H, A, E, L, H, I at accessibe, A, C, C, E, S, S, i, b, e.com, wherever you're monitoring us today, please give us a five star rating, and please give us a review. We love your reviews. We appreciate your input. If you can think of anyone who you think ought to be a guest, and if you listening out there want to be a guest, please reach out to me. We're always looking for more people to come on the podcast. We met spider through someone else who has been on the the podcast as well. And spider, if you know anyone who want who you think ought to be a guest, yep, love to hear from you. I got some ideas, cool. Well, I want to once again. Thank you for being here. This has been absolutely fun. Spider Saloff  1:02:16 Thank you, Michael, what a blast. I'll be talking to you soon. Michael Hingson  1:02:24 Thank you for being here with me on unstoppable mindset. I hope today's conversation left you with a fresh perspective, a new insight, or at least something worth thinking about if you're ready to go deeper into the ideas that shape how we see ourselves and others, I have a free gift for you. Head over to Michael hinkson.com and download my free ebook, blinded by fear. It explores the invisible beliefs that hold us back and shows you how to reframe them so you can move forward with clarity and confidence. Be sure to subscribe to our podcast, leave a review and share this show with someone who can use a reminder that growth starts with mindset. When people think differently, we all move forward together. Thanks again for listening. Keep learning, keep questioning and keep choosing to live with an unstoppable mindset you.

Singer-songwriter and Staten Island native Ingrid Michaelson performs live ahead of her American Songbook concert at Lincoln Center. "Ingrid Michaelson & Friends: The Time and Space Between Us" will take place at David Geffen Hall on Friday April 3 at 7:30. Photo by Rebecca J Michelson

Celebrating 10 Years of Magic Thread Cabaret | Featuring Hampton CallawayIn this episode of On the Aisle, host Tom Alvarez sits down with longtime collaborator Dustin Klein to celebrate a major milestone—10 years of Magic Thread Cabaret. The two reflect on how their creative partnership began with the original musical Calder the Musical, inspired by the life of artist Alexander Calder. After the show's success at the Indianapolis Fringe Festival, they realized that producing a full-scale musical beyond the local stage required resources they didn't have. Instead, they channeled their passion for the Great American Songbook and intimate performance into a new venture—Magic Thread Cabaret—dedicated to producing original cabaret shows and nurturing emerging talent.Over the past decade, Magic Thread Cabaret has produced more than 20 shows and worked with hundreds of performers and musicians, building a reputation for blending artistic excellence with mentorship. Their productions celebrate diversity and storytelling through music, giving local and rising artists opportunities to perform in professional settings while honoring the rich traditions of cabaret and the American Songbook.The conversation also highlights a special March 20 benefit concert in Indianapolis, featuring acclaimed singer-pianist Ann Hampton Callaway. The performance will take place at The Cabaret and will showcase music by legendary songwriter Cole Porter. The evening will also honor the memory of Indianapolis arts supporter Ben Solomon and feature rising performers from Magic Thread Cabaret. In addition to Callaway's performance, audiences will hear selections from the upcoming production Cabaret Latino: Songs of the Americas, celebrating the influence of Latin American music on American culture.Looking ahead, Alvarez and Klein share exciting plans for the future. In 2026 they will present an expanded version of Cabaret Latino, and in 2027 they hope to revisit their original work Calder the Musical in a concert format with a live orchestra at the Tobey Theater at Newfields.In the second half of the episode, Alvarez welcomes acclaimed Indianapolis jazz pianist Sean Baker, known as “Sean Baker the Music Maker.” Baker discusses his role leading the trio that will accompany Callaway for the benefit concert. A respected pianist, songwriter, and arranger, Baker explains how his deep knowledge of jazz and the Great American Songbook makes him a natural musical partner for Callaway's performances.Together, the conversations highlight the power of collaboration, mentorship, and live music—showcasing how a small arts organization can create lasting cultural impact while celebrating both emerging artists and world-class performers.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Vrijdag 13 maart presenteren Maarten Hogenhuis (sax), Phil Donkin (bas) en Mark Schilders (drums) hun nieuwe album COLE. in Jazzpodium de Tor. Een album waarin ze teruggrijpen op de muziek van een van de belangrijkste componisten/songschrijvers van de vorige eeuw: Cole Porter. Aanleiding voor Willem Habers om in deze TORcast een dik uur lang te duiken in de rijke muzikale erfenis van Cole Porter onder de titel “Cole’s Cool”. Playlist: Maarten Hogenhuis trio: Begin the Beguine; Frank Sinatra: Night and Day Dubbelaar: Ella Fitzgerald: I Get A Kick Out Of You; Patricia Barber: I Get A Kick Out Of You; Clifford Brown, Max Roach Quintet feat. Sonny Rollins: What is This Thing Called Love?; Sarah Vaughan: Ev’ry Time We Say Goodbye; Chet Baker: You’d Be So Nice To Come Home To; Dubbelaar: Cannonball Adderly: Love For Sale; Eartha Kitt: Love For Sale; Mel Torme: It’s De-Lovely; Miles Davis Quintet: All Of You; Maarten Hogenhuis trio: It’s Allright With Me. Cole Porter Cole Porter (1891–1964) behoort tot de meest verfijnde en invloedrijke componisten uit het American Songbook. Zijn oeuvre—rijk aan melodische elegantie, harmonische verfijning en een ongeëvenaarde lyrische spitsvondigheid—heeft een blijvende stempel gedrukt op zowel de populaire muziek als de jazz. Waar veel tijdgenoten zich specialiseerden in óf tekst óf muziek, beheerste Porter beide disciplines op uitzonderlijk niveau. Zijn liederen zijn niet alleen cultureel iconisch, maar vormen ook een onuitputtelijke bron voor jazzmusici die op zoek zijn naar harmonische rijkdom en melodische flexibiliteit. Porters bijdrage aan de populaire muziek Een unieke combinatie van verfijning en toegankelijkheid Porters liederen waren tegelijk elegant en catchy. Hij schreef voor Broadway en Hollywood, maar zijn muziek overstijgt het theater: de songs zijn op zichzelf kleine kunstwerken. Zijn melodieën zijn vloeiend en herkenbaar, maar nooit simplistisch. Daardoor bleven ze decennialang populair bij zowel het grote publiek als professionele zangers.  Teksten die grenzen verlegden Porter was een meester van dubbelzinnigheid, ironie en subtiele erotiek. Hij speelde met taal op een manier die in de populaire muziek van zijn tijd ongekend was. Zijn teksten bevatten culturele verwijzingen, woordspelingen en ritmische verrassingen die de standaard voor songwriting blijvend verhoogden. Een kosmopolitische stijl Porters muziek ademt wereldsheid: Europese invloeden, Latijns-Amerikaanse ritmes, jazzharmonieën en Broadway-theatraliteit vloeien samen. Die mengvorm maakte hem tot een van de eerste echt internationale popcomponisten. Porters invloed op de jazz Harmonische rijkdom als speelveld voor improvisatie Jazzmusici omarmen Porters werk omdat zijn harmonieën uitdagend en inventief zijn. Songs als “Night and Day” of “What Is This Thing Called Love?” bevatten modulaties, chromatiek en akkoordprogressies die uitnodigen tot improvisatie. Veel van zijn composities zijn uitgegroeid tot jazzstandards. Flexibele melodieën Porters melodieën zijn sterk genoeg om herkenbaar te blijven, maar open genoeg om te variëren. Dat maakt ze ideaal voor jazzinterpretaties: van swing tot bebop, van cool jazz tot moderne vocale jazz. Een brug tussen Broadway en jazzclubs Porter hielp de kloof te overbruggen tussen de populaire muziek van het theater en de improvisatiecultuur van de jazz. Zijn liederen werden door zowel crooners als instrumentalisten omarmd, wat bijdroeg aan de canonisering van het Great American Songbook als fundament van de jazztraditie. Cole Porter was een componist die de grenzen van populaire muziek verlegde en tegelijkertijd een fundament legde voor de jazztraditie. Zijn liederen zijn melodisch sterk, harmonisch uitdagend en tekstueel briljant. Daardoor blijven ze aantrekkelijk voor zowel luisteraars als uitvoerders, en vormen ze een essentieel onderdeel van het muzikale erfgoed van de 20e eeuw. Zijn invloed is nog altijd hoorbaar in hedendaagse pop, musicaltheater en jazz—een bewijs van de tijdloze kracht van zijn werk.

Lincoln Center's American Songbook series kicks off March 18. Creative director Clint Ramos discusses the series, along with the Tony-winning Ruthie Ann Miles, who performs live in studio to preview "Perfectly Imperfect," her debut solo concert, on March 19. Photo courtesy of Lincoln Center

Fair Use- we are an educational channel!#jazzmusic #jazztube #concert #MitchHamptonTrioIn this performance I play some of the most well known standards from the American Songbook as well as brand new compositions played for the first time, with Zack Page on the bass and Justin Watt on drums.

Free form sounds are the order of the morning as we set sail for a two hour tour of sounds from the last century once more, leaning on a pretty exciting group of performers. You can tune in each and every Friday morning here on KOWS-LP Occidental where our word is our bond. Join Dave Stroud once again as he shares a selection of tunes by the Zion Harmonizers, Buck Owens, Mink Deville, Johnny Burnette, and Kay Kyser. It's a fun mix of genres…some from the American Songbook, some from Bourbon Street, some from the Brill Building and a blend from the farther reaches. Tune in for a delightful Friday clamoring from Occidental's own station.

Maggie & John C. Reilly discuss “What's Not to Love?” Mister Romantic's debut album out now on Eternal Magic Recordings is a collection of beloved songs from the American Songbook reimagined by Reilly and his Grammy-winning band. “What's Not To Love?” was recorded in 2024 in Los Angeles at Nest Recorders and was co-produced by Reilly and Davíd Garza. In addition to Garza on piano and guitar, the band also includes Gabe Witcher on violin, Sebastian Steinberg on bass, and Charles De Castro on accordion and cornet.  CREATED BY JOHN C. REILLY“I looked at our weary world a few years ago and tried to think of a way I could spread love and empathy. I decided the most fun way to do that was through performing and singing and telling people I love them…so the emotional vaudeville show Mister Romantic was born, out of both hope and despair.”From studying theater as a kid growing up in Chicago, to amateur clowning as a teen and studying acting at The Theatre School at DePaul University, to his Oscar-nominated role starring in the film adaptation of Chicago and beloved performance starring in Walk Hard: The Dewey Cox Story, to his TONY-nominated performance in Sam Shepard's True West, and more, theater and music have been pillars of John's career. What's Not To Love? is a collection of gorgeous renditions of songs from the Great American Songbook backed by a band of multiple GRAMMY®-winners. On lead single “Dream” Reilly delivers a gentle, dreamy sea-side cover of the 1944 Johnny Mercer song, which has previously been recorded by Frank Sinatra and Roy Orbison.The album was recorded in 2024 in Los Angeles at Nest Recorders and was co-produced by Reilly and Davíd Garza (Fiona Apple, Sharon Van Etten). In addition to Garza on piano and guitar, the band also includes Gabe Witcher on violin (Punch Brothers, Rosanne Cash), Sebastian Steinberg on bass (Fiona Apple, Phoebe Bridgers), and Charles De Castro on accordion and cornet (Keb' Mo'). The 13 tracks include a pair of Irving Berlin songs, a trio of Tom Waits songs and many songs made famous by Louis Armstrong, Frank Sinatra, Jo Stafford and more. Reilly and this special band reimagine and re-embrace these beloved tunes and bring them again to another generation.About the Live Show:Prepare to be captivated by the incomparable John C. Reilly in Mister Romantic, a vaudeville show that has already garnered critical acclaim and captured the public's imagination. The New York Times calls the show "wryly funny, sometimes tender and sad, but always sincere" and Vanity Fair describes it as “fiercely funny” and says "John C. Reilly is one hell of a singer." Mister Romantic asks you to open your heart to the love all around you and marks a new chapter in Reilly's acclaimed career. Source: https://www.misterromantic.com/Source: https://www.steppenwolf.org/tickets--events/seasons-/2025-26/mister-romantic/Source: https://www.misterromantic.com/musicHost Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Send us a textSupport the show@profileswithmaggielepique@maggielepique

Carole King's extraordinary career has defined American popular music for more than half a century. Born in New York City in 1942, she shaped the soundtrack of 1960s teen culture with such songs as “Will You Love Me Tomorrow,” one of many Brill Building classics she wrote with her first husband, Gerry Goffin. She was a leading figure in the singer-songwriter movement of the 1970s, with dozens of Billboards Hot 100 hits and music awards—her 1971 album Tapestry won a record four Grammys. Yet she struggled to reconcile her fame with her roles as a wife and mother and retreated to the backwoods of Idaho, only to emerge in recent years as a political activist and the subject of the Tony-winning Broadway show Beautiful: The Carole King Musical.She places King's life in historical and cultural context, revealing details of her humble beginnings in Jewish Brooklyn, the roots of her musical genius, her four marriages, and her anguish about public life. Drawing on numerous interviews as well as historical and contemporary sources, this book brings to life King's professional accomplishments, her personal challenges, and her lasting contributions to the great American songbook.Jane Eisner is the author of "Carole King: She Made the Earth Move." https://www.amazon.com/Carole-King-Earth-Jewish-Lives/dp/0300259468http://www.yourlotandparcel.org

Wyatt MichaelTake a walk with me down Fascination Street as I get to know Wyatt Michael. My wife and I saw Wyatt perform live at a jazz club in San Antonio and I just had to get him on the show. In this episode, we get to know about Wyatt's early years singing in a rock band, and how he discovered jazz and the American Standards. He lets me play one of his songs from that rock band so we can get an idea of what he USED to sound like. Then we dive into his love affair with the Frank Sinatra, Dean Martin, Michael Buble style of music. He shares funny stories about some of his first live gigs in this new style, as well as 'The Curse of the First Dance'. Next, we get into his time on the NBC reality competition show The Voice. Wyatt explains how he came to be part of the show, what his experience was like, and some behind the scenes tidbits. Naturally, I ask if I can play a song that he wrote and performed in this crooning style, that I just adore. of course, we cover his recent move to Las Vegas, and where he can be found belting out the great American Songbook. Make sure to check SingWithSwing.com for tour dates and upcoming shows. 

Learn more at TheCityLife.org

This interview first aired on Thursday the 20th of November, 2025 on ONE FM 98.5 Shepparton. One FM Breakfast announcer Plemo talks to fashion stylist and singer Dom Bagnato ahead of his show Tony and Gaga coming to Shepparton this Saturday the 22nd of November, 2025. Led by acclaimed powerhouse vocalist Sarah C (Dancing With The Stars, X Factor) and Tatura Born fashion icon Dom Bagnato. Backed by an opulent Big Band , this joyous show guarantees an enchanting evening of music & variety, transporting you back in time to the magic of Old Hollywood. In this stunning show we will bring back the glamour, elegance and sophistication of this golden era in a musical celebration of this formidable duo, their contributions to music and the timeless classic hits of the American Songbook. The sensational Sarah C and the Debonair Dom Bagnato will delight you with their harmonious vocal chemistry. A gift they can't wait to share, in their fabulous Tony Bennet and Lady Gaga inspired show. Tony and Gaga will be on at Riverlinks Eastbank, (70 Welsford Street, Shepparton) at 7:30pm this Saturday, 22 November 2025. All Tickets $69.90. You can Contact Riverlinks Box Office : 03 5832 9511 or book tickets at https://riverlinksvenues.online.red61.com.au/event/829:2287/829:3206/ Listen to One FM Breakfast with Plemo live on weekday mornings from 6am-9am. The ONE FM 98.5 Community Radio podcast page operates under the license of Goulburn Valley Community Radio Inc. (ONE FM) Number 1385226/1. Contact the station on admin@fm985.com.au or (+613) 58313131 PRA AMCOS (Australasian Performing Right Association Limited and Australasian Mechanical Copyright Owners Society) that covers Simulcasting and Online content including podcasts with musical content, that we pay every year. This licence number is 1385226/1

This Big Conversations, Little Bar episode spotlights a life steeped in swing, storytelling, and the American Songbook. Patrick Evans and Randy Florence welcome guest Billy Stritch who shares how a Houston kid with a portable cassette recorder became a New York mainstay—shaping shows, accompanying legends, and commanding intimate rooms like the Purple Room and Birdland. He recalls opening for Mel Tormé at Carnegie Hall, meeting Princess Diana after a Royal Albert Hall performance, and the serendipitous piano-bar moment that led to decades of collaboration with Liza Minnelli. We hear about London's Crazy Coqs, the curated Cast Party at the McCallum Theatre, and the electric connection only a small cabaret can deliver. His pandemic livestreams—65 consecutive weeks—kept creativity alive and a community together, proving music's power to sustain and unite. From early influences (Gershwin, Ella, Nat King Cole) to arranging, Brazilian flavors, and unforgettable stages, this conversation celebrates craft, friendship, and the joy of bringing a room to hush with a single chord.Takeaways:The magic of small rooms: intimacy, faces, and instant connectionSerendipity at a piano bar sparked a 25-year creative partnershipPandemic livestreams built community and kept the music—and rent—goingCast Party thrives in New York and a curated McCallum Theatre seriesCareer highlights include Carnegie Hall, Royal Albert Hall, and Hollywood BowlInfluences span Gershwin, Ella, Nat King Cole, bossa nova, and moreStories of working with icons like Liza Minnelli and Tony BennettMusic as a unifier in divisive times—and a lifelong calling#BigConversationsLittleBarPodcast #PatrickEvans #RandyFlorence #SkipsLittleBar #MutualBroadcastingSystem #CoachellaValleyResidents #SkipPaige #McCallumTheatre #BillyStritch #LizaMinnelli #PurpleRoom #Birdland #CastParty #TonyBennett #LindaLavin #CrazyCoqs #RoyalAlbertHall #AmericanSongbook #PalmSprings #JazzPiano

Stella Cole went from nearly giving up singing in college to becoming one of the breakout stars of the pandemic era, thanks to her viral performances of American Songbook standards on TikTok. Now signed to Decca and releasing her second full length album It's Magic, she talks about following her instincts, finding her voice, and turning childhood obsessions into a career. www.third-story.com www.leosidran.substack.com www.wbgo.org/podcast/the-third-story  

mp3: Hallelujah, I’m a bum – Click To Play This is an old song Roud 7992 from the 1890’s. Carl Sandburg included it in his anthology “The American Songbook” Lyrics:   [G] Rejoice and be glad, for the [Em] springtime has come [G] We can throw down our shovels and [D] go on the bum … Continue reading "BUM"

This performance used with permission from Chandler Carpenter. Chandler Carpenter's diverse musical upbringing has resulted in a genre bending style that is evident in his performance style and original compositions as you'll hear today. He leads many projects including his own Trio and Quartet playing original compositions and arrangements of songs from the American Songbook and Jazz Standards. He is the primary recording and touring guitarist for Cleveland based jazz and R&B pianist and vocalist Jeffery Cruz. For this performance, Chandler Carpenter is joined by a quartet that features Nate Yingling on piano, Leo Traum on bass, and Owen Davis on drums. From an April 28th, 2024 performance, it's the Chandler Carpenter Quartet – Live at the Bop Stop. For more information about the program, visit our website at thebopstop.org and click on the Live at the Bop Stop Radio Show link.

John is joined by Hollywood royalty and Jazz sensation Jeff Goldblum along with producers Alex Frank and Scott Gilman to talk about how they recorded and produced ‘Still Blooming'. A lifelong pianist, Jeff formed The Mildred Snitzer Orchestra in the 1990s, performing in and around LA for over 20 years. The band's fourth album released in May 2025, ‘Still Blooming', blends Broadway classics and tracks from the great American Songbook with guest vocals from Scarlett Johansson, Maiya Sykes, and Jeff's Wicked co-stars Ariana Grande, and Cynthia Erivo. The record was arranged, recorded and produced by band members Alex Frank and Scott Gillman. In this episode, Jeff, Alex, and Scott walk us through each track's creation, from spontaneous singing on set, to detailed musical arrangements and figuring out keys over the phone. They share the production tricks used to balance pop vocals with jazz recordings, the moments they all jammed together in the studio, and how they plan to bring it all to the stage. Tracks discussed: I Don't Know Why (I Just Do), We'll Meet Again, The Best Is Yet To Come TAPE IT Thanks to our friends at Tape It for supporting the podcast. Visit tape.it/tapenotes or use the promo code TAPENOTES in the app to get 20% off. LANDR  Get 20% off LANDR Distribution and Studio at landr.com/tapenotes TRINITY LABAN  Find out more about Trinity Laban's Songwriting MA here. MUSIVERSAL Skip the waitlist and get your discount HERE LISTEN to ‘Still Blooming' here. ‘Decca' LINKS TO EVERYTHING TAPE NOTES   linktr.ee/tapenotes  Intro Music - Sunshine Buddy, Laurel Collective - https://lynkify.in/song/sunshine-buddy/YT47TLFI  GEAR MENTIONS FabFilter Pro-Q 4 Steinway Pianos Coles 4038 Neumann U67 Neumann U87 Logic Pro Tools OUR GEAR https://linktr.ee/tapenotes_ourgear HELP SUPPORT THE SHOW If you'd like to help support the show you can join us on Patreon, where among many things you can access full length videos of most new episodes, ad-free episodes and detailed gear list breakdowns. KEEP UP TO DATE For behind the scenes photos and the latest updates, make sure to follow us on:  Instagram: @tapenotes  Twitter: @tapenotes  Facebook: @tapenotespodcast   YouTube: Tape Notes Podcast Discord: Tape Notes Patreon: Tape Notes To let us know the artists you'd like to hear, Tweet us, slide into our DMs, send us an email or even a letter. We'd love to hear!  Visit our website to join our mailing list: www.tapenotes.co.uk TAPE NOTES TEAM John Kennedy Will Brown  Tim Adam-Smith  Will Lyons  Nico Varanese  Guy Nicholls  Jessica Clucas Ali Lewis Evan Lawday Francis Hartgrove

Lizzie Lee is a genre-defying vocalist blending classical precision with the soul and spontaneity of New York's jazz tradition. Her voice—praised for its rich color and “acrobatics and élan”—offers a bold reinterpretation of the American Songbook and beyond. Raised in Alaska and trained in Paris and New York, Lizzie brings a rare combination of global sensibility and emotional connection to her work. Her debut album, 72nd Street, recorded at the legendary Van Gelder Studio, is a striking statement of identity: lush, lyrical, and rooted in both tradition and risk. The album features a stellar lineup including Joe Farnsworth (drums), Stacy Dillard (tenor sax), John Webber (bass), Joe Block (keys), and Rob Nuovo (guitar). With performances across NYC, the northeast and internationally, and acclaim from artists like Bill Frisell and David Broza, Lizzie is merging elegance with edge, storytelling with swing, while fast becoming a name to know among vocalists in the jazz world. In the classical genre, Lizzie is a dynamic soprano praised for her “brilliant coloratura, acrobatics, and élan” (Opera Magazine) and has performed across the United States, Europe, and Asia. Lizzie debuted in Europe at Staatstheater Darmstadt and has received international acclaim for her roles as the Parrot in the world premiere of Mahosot: Architect of Dreams by Somtow Sucharitkul in Bangkok and as the Countess in Le Nozze di Figaro in NYC. She has appeared as a soloist with the Jenaer Philharmonie, Bergische Symphoniker, and in concerts in Vienna with Maestro Francisco Araiza. Her artistry has been shaped through work with legendary mentors such as Martina Arroyo and the late Dalton Baldwin, whose influence continues to inspire her interpretive depth and stylistic sensitivity. Lizzie has performed at iconic venues such as Carnegie Hall and the Sydney Opera House and has worked closely with artists from many of the world's most prestigious theaters including the Metropolitan Opera, Royal Opera House, San Francisco Opera, Washington National Opera, and Opéra Bastille.

The luminous Kate Baldwin joins The Art of Kindness with Robert Peterpaul this Women's History Month to discuss acts of kindness throughout her career on Broadway, Maestra Music and more. Kate Baldwin is a two-time Tony Award and four-time Drama Desk Award nominee who has delighted audiences across the country with performances on Broadway, in concert and on television. Kate starred as Irene Molloy opposite Bette Midler, David Hyde Pierce and Gavin Creel in the hit Broadway revival of Hello, Dolly!, for which she was nominated for the Tony, Drama Desk and Outer Critics Circle awards. She originated the role of Sandra Bloom in Big Fish on Broadway and earned accolades and a Drama Desk Award nomination for her work as Leslie Lynnton Benedict in Michael John LaChiusa's Giant at The Public Theatre. She received a Drama Desk Award nomination for her role as Jen in Keen Company's 20th Anniversary revival of Andrew Lippa and Tom Greenwald's John & Jen. She garnered critical acclaim and a Lucille Lortel Award nomination for Tom Kitt and John Logan's Superhero at Second Stage. But it was her starring role in the 2009 Broadway revival of Finian's Rainbow, which drew Tony, Drama Desk and Outer Critics Circle Award nominations and put her on the map as “a real musical theatre star.” (New York Post) Kate has appeared in the Broadway casts of The Full Monty, Thoroughly Modern Millie and Wonderful Town. Other New York theatre productions include Songbird at 59e59 and in The Dead, 1904 for Irish Rep, Fiorello! and Love Life for City Center Encores! She starred in The King and I at the Lyric Opera of Chicago, Irving Berlin's White Christmas (San Francisco, Detroit, Toronto), The Women at The Old Globe, Henry V at the Shakespeare Theatre of New Jersey, She Loves Me at the Willliamstown Theatre Festival, and The Music Man and South Pacific at Arena Stage, earning a Helen Hayes Award nomination. She drew raves for her portrayal of Francesca Johnson in The Bridges of Madison County directed by original cast member Hunter Foster and for her turn as Dorothy Brock in 42nd Street at Goodspeed Opera House directed by original creator Randy Skinner. She has performed in concert with the American Pops Orchestra, New York Pops, Boston Pops, National Symphony, Detroit Symphony, Portland Symphony, Phoenix Symphony, Chicago Symphony, American Songbook series at Lincoln Center, the Kennedy Center and at the legendary New York nightclubs Feinstein's, Birdland and 54 Below. Her concert work also includes several appearances with Stephen Sondheim as a featured performer in his critically acclaimed evening, “A Conversation with Stephen Sondheim.”  On television, her work includes appearances on “The Gilded Age” (HBO),  “Law &Order: SVU” (NBC) “Just Beyond” (Disney Plus) “Live from Lincoln Center: Stephen Sondheim's Passion” (PBS) and “First You Dream: the Songs of Kander and Ebb” (PBS) Kate is a 2023 Chicago/Midwest Emmy nominee, alongside partners at HMS Media for creating and producing “Broadway Comes Home,” a love letter to her hometown of Milwaukee. She is a proud advisory board member for Maestra Music, which provides support, visibility and community for the women and non-binary people who make the music in musical theatre. Kate's debut album on PS Classics, “Let's See What Happens” features Lane and Harburg songs from both stage and film. Her second album celebrates the work of lyricist Sheldon Harnick and is titled, “She Loves Him.”   She is a graduate of Shorewood High School in Shorewood, WI and Northwestern University. She lives with her husband and son in Maplewood, NJ. Visit: maestramusic.org Follow Kate: @realkatebaldwin Follow us: @artofkindnesspod / @robpeterpaul youtube.com/@artofkindnesspodcast Support the show! (https://www.buymeacoffee.com/theaok) Got kindness tips or stories? Want to just say hi? Please email us: artofkindnesspodcast@gmail.com Music: "Awake" by Ricky Alvarez & "Sunshine" by Lemon Music Studio. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of One Symphony, Devin Patrick Hughes sat down with Peter Drew, a symphonist and jazz composer, to discuss his diverse life journey and his debut symphony, Reminiscence. Drew, born in Europe and later a refugee in the United States, recounted his early musical awakenings. He was first intrigued by the sound of the harmonica his stepbrother gave him. However, his musical trajectory truly shifted when, around the age of eleven, he heard Toscanini conducting Beethoven's Ninth Symphony on the radio. This experience deeply resonated with him, particularly the Ode to Joy, which became the first tune he learned on the harmonica, despite not being able to read music. Although initially captivated by classical music and Beethoven, Drew's path to becoming a composer was far from traditional. He pursued various careers, including working in film distribution, catering, teaching film studies, and being a social studies teacher. Throughout these experiences, music remained a constant presence in his life; he would often "noodle around" on the clarinet. It wasn't until later in life that he began to seriously study music, taking lessons from clarinet players and exploring jazz. He eventually started arranging music and studying composers like Sibelius. When the conversation turned to his symphony, "Reminiscence," Drew emphasized the amalgamation of his varied musical tastes and life experiences. He described his influences as a "mélange" or "stew" ranging from the American Songbook to Carl Orff, Villa-Lobos, Beethoven, Brahms, Artie Shaw, and even global music like Songs of the Auvergne, Tuvan throat singing, and Raga. He explained that his compositional process often begins with a melody he likes, perhaps played on his clarinet. He then develops this initial phrase, ensuring a natural flow between musical ideas without dissonance, remaining within the realm of Romantic Classical music. Hughes inquired about the technical aspects of translating these diverse elements into a cohesive symphony, including orchestration. Drew admitted that while he can conceive melodies, he needed assistance with the intricate instrumentation for a large symphony orchestra. He collaborated with an orchestrator to achieve the desired sonic textures, ensuring that all the instrumental parts complemented each other. Regarding the upcoming performance and recording of Reminiscence by the Boulder Symphony, Drew expressed his hope that listeners would simply "enjoy yourself" and "have fun". He doesn't expect the audience to be intimately familiar with all his diverse musical influences, but rather to connect with the music on an emotional level in the same way he was first drawn to Beethoven. Drew believes that if the music sounds and feels good, it will be enjoyable to listen to. When asked about his late entry into composing a symphony, Drew, who is approaching 90, reflected that all his life experiences, both musical and non-musical, have informed his writing. He feels that composing, rather than performing, is his true strength and passion, representing an accomplishment after a lifetime of diverse pursuits. He finds satisfaction in creating music that others enjoy listening to and playing. When pressed for a favorite movement, Drew chose the third movement for its energy and the way all the musical elements come together. While acknowledging the profound impact of Beethoven on his early musical life, he noted that Reminiscence incorporates a wider range of influences, creating a unique sonic landscape.   Thank you for joining us on One Symphony. Special thanks to Peter Drew for sharing his music and story. Musical selections from today's episode:   “Hard Driver” from the album And What's More composed and arranged by Peter Drew. “Midnight Sun” from the album And What's More. Composed by Lionel Hampton, Sonny Burke, and Johnny Mercer. Arranged by Peter Drew, featuring Sachal Vasandani. Symphony No. 1 “Reminiscence” II. Pictures at an Album. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. Symphony No. 1 “Reminiscence” I. Journey. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. “Slow Burn Blues” from the album And What's More composed by Peter Drew and featuring Wendy Gilles.  Symphony No. 1 “Reminiscence” IV. The Return. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender. Symphony No. 1 “Reminiscence” II. Bach to Back. Composed by Peter Drew and arranged by Douglas Gibson. Performed by the Zagreb Philharmonic Orchestra under the direction of Ivan Josip Skender.   For more information on Peter, see https://www.peterdrewmusic.com You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you'd like to support the show. Special thanks to Parma Recordings for making this episode possible. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

Trenders! It is my great honor to have the incredible Nnenna Freelon on my podcast. She and her quartet are about to open up a set at Lincoln Center this weekend, link to buy tickets is below, and she discusses with me her career, what "music" truly is within us and around us, and the current state of our emotionality in a country that seems to be in need of Jazz and all music now more than ever! Trend with us-About her show: Seven-time Grammy Award nominee Nnenna Freelon returns to Dizzy's to celebrate her new recording, Beneath The Skin (Origin Records). Departing from the American Songbook standards she's masterfully interpreted throughout her career, Freelon turns inward with a collection of heart-spoken songs that aim to heal life's personal and universal broken places. She shares, “I'm taking a lesson from my garden—from the flower that trusts itself to be enough.” It's an evening of introspection and soulful artistry not to be missedhttps://ticketing.jazz.org/18258

Colm Gavin has always been hugely inspired by the great American Songbook – particularly: Jerome Kern, Harold Arlen, Hoagy Carmichael and their brilliant love ballads. Lyrically, Colm wanted this to be playful and honest. “While I'm someone of simple means, goes wild for the finer things, a Paris balcony with a view, I'm more an …

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25 years ago this weekend, Joni Mitchell released her turning point concept album, Both Sides Now. The record saw Mitchell revisiting two of her own songs 40 years later, amid a number of American Songbook standards. For the next installment of our Silver Liner Notes album anniversary series, we reflect on this album within Joni Mitchell's career with Ann Powers, NPR music critic and author of Traveling: On the Path of Joni Mitchell.

Creativity though the lens of an entertainer, host, producer and interviewer"Creativity is what makes you unique."Richard Skipper is an award-winning entertainer, director, and producer whose charismatic stage presence and deep knowledge of the entertainment industry have captivated audiences worldwide. Best known for his signature production, Richard Skipper Celebrates, he combines song, storytelling, and humor to honor iconic figures from stage and screen. Whether paying tribute to Carol Channing in his acclaimed Hello, Dolly! celebrations or featuring other Broadway luminaries, Richard's heartfelt performances offer an uplifting experience that resonates with theater enthusiasts of all ages.A New York-based performer, Richard has headlined across the country and internationally, garnering praise for his ability to weave personal anecdotes, industry insights, and audience engagement into every show. His passion for preserving and spotlighting the American Songbook has led to collaborations with top-tier musicians, directors, and fellow artists, further elevating his reputation as a multi-talented force in the performing arts.Beyond the stage, Richard is committed to fostering community and creativity. He frequently hosts interviews and live-streamed events with notable names from Broadway and beyond, sharing behind-the-scenes stories and celebrating the best of theater culture. Guided by a mission to spread love, happiness, and a sense of possibility, Richard Skipper continues to delight audiences, inspire fellow artists, and champion the enduring magic of musical theater.Website: https://richardskipper.com/Instagram: https://www.instagram.com/richard.skipper.celebrates/Facebook: https://www.facebook.com/RichardSkipperSend us a text

Inspired at a young age by icons such as Frank Sinatra, Dean Martin and other great American Songbook interpreters, Edward brings a unique tone and style to the stage - not just with his jazz vocal prowess, but also with his distinctive presentation. Edward takes pride in looking his best not for anybody but himself, usually attending college classes dressed in a suit and outside with a hat. As a person with ancestry from Latin America, Edward's multicultural background enriches his artistry. With his father's Peruvian roots and his mother's Panamanian heritage, Edward performs in English, Portuguese and Italian, offering a diverse and engaging experience. Edward excelled in music and writing in boarding school. His talent for writing earned him acceptance to Emerson College for creative writing, but he chose to follow his musical passion at Hofstra University where he is on track to graduate with a B.A. in music performance - jazz and contemporary music.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

The very first time I saw WICKED was when the national tour came to Cleveland in February 2008. The actress playing Glinda at the time was Katie Rose Clarke. As fate would have it, I was recently offered the chance to speak with her and Steven Jamail about their brand new song connected to their upbringing in Houston, Texas titled 'Margarita Christmas.' So naturally, I said yes. Katie Rose Clarke made her Broadway debut almost 20 years ago when she took over for Kelli O'Hara as Clara Johnson in THE LIGHT IN THE PIAZZA, where she even got to be a part of the PBS broadcast. Her subsequent credits include Hannah Campbell in ALLEGIANCE with George Takei and Lea Salonga, Ellen in the 2017 revival of MISS SAIGON, and most recently as Beth in the Tony-winning revival of MERRILY WE ROLL ALONG starring Jonathan Groff, Daniel Radcliffe, and Lindsay Mendez. Not to mention that she also happens to be Broadway's longest-running Glinda in WICKED. Steven Jamail is a composer, producer, musical director who has done arrangements and orchestrations that have been performed on Oprah, Howard Stern, Rachel Ray, The Rosie O'Donnell Show, Martha Stewart, The NBC Tree Lighting at Rockefeller Center, and the American Songbook series at Lincoln Center. He has also created arrangements and played for Bebe Winans, Rosie O'Donnell, Jessie Mueller, Jeremy Abbott, and Adam Rippon. He serves as the regular music director for Orfeh, Teal Wicks, Danielle Hope, and Lea Michele, having just recently orchestrated and conducted Ms. Michele's lauded Carnegie Hall debut and Life in Music Tour. He is the Associate Artistic Director of O'Donnell's foundation, Rosie's Theater Kids in NYC. *I do not own any of the content used in this video. Follow Katie Rose Clarke on Instagram: @katieroseclarke Follow Steven Jamail on Instagram: @stevenjamail If you love this show, please leave us a review. Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠RateThisPodcast.com/karereviewspodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and follow the simple instructions. Follow Kare Reviews at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.karereviews.net⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and on Twitter:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@KareReviews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Also please visit the newly launched Patreon page:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/jeffreykare?fan_landing=true⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Jeffrey Kare on Twitter:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@JeffreyKare⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you like what you've heard here, please subscribe to any one of the following places where the Kare Reviews Podcast is available. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Anchor⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Google⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Breaker⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Overcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠Pocket Casts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠RadioPublic --- Support this podcast: https://podcasters.spotify.com/pod/show/jeffrey-kare/support

Ben West is a musical theatre artist and historian, and creator and author of The Musical Theatre Report. His book, The American Musical: Evolution of an Art Form (Routledge, 2024), chronicles a detailed and comprehensive history of the art form's artistic evolution. He created twenty “Timeline Wall” exhibits for the Museum of Broadway that trace the history of the Broadway stage from 1732 to 2021 and spotlight more than 500 productions and 100 artists. He has worked in various capacities on Broadway, Off-Broadway, and regionally, and created and directed Unsung Carolyn Leigh for Lincoln Center's American Songbook series. West has spoken at several institutions including Yale University, University of Michigan, the Dramatists Guild, and the Shubert Organization. He is a recipient of Lincoln Center's Martin E. Segal Award.

Inspired at a young age by icons such as Frank Sinatra, Dean Martin and other great American Songbook interpreters, Edward brings a unique tone and style to the stage - not just with his jazz vocal prowess, but also with his distinctive presentation. Edward takes pride in looking his best not for anybody but himself, usually attending college classes dressed in a suit and outside with a hat. As a person with ancestry from Latin America, Edward's multicultural background enriches his artistry. With his father's Peruvian roots and his mother's Panamanian heritage, Edward performs in English, Portuguese and Italian, offering a diverse and engaging experience. Edward excelled in music and writing in boarding school. His talent for writing earned him acceptance to Emerson College for creative writing, but he chose to follow his musical passion at Hofstra University where he is on track to graduate with a B.A. in music performance - jazz and contemporary music.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Happy Days is the iconically classic 70s TV sensation about the 50s. Its legacy is unparalleled, its popularity ongoing. The show  launched a character who remains the embodiment of cool, Fonzie, and it cemented its cast into icon status in perpetuity.  That cast includes Donny Most, who played wise-cracking Ralph Malph, who, complete with his own catchphrase, “I still got it!” took a minor role and turned it into the stuff of legend.Don joins us this week to look back on his decades in Hollywood, the magic formula that brought Happy Days to fruition, and created a lasting legacy, and his tireless pursuit of creative expression that continues to keep his schedule full and fulfilling.Don shares stories about his first foray into show business, as a Catskills performing teen, his early guest starring roles on Emergency and Room 222, how he dropped out of college to maintain his acting momentum and landed a small role on Happy Days which he initially turned down until a fateful basketball playing encounter between his manager and Garry Marshall upped the incentives and sealed the deal. Donny and his cast-mates developed a strong, life-long bond which he credits to the collaborative set atmosphere, the genius of Garry Marshall and the strong example set by Ron Howard, which helped anchor egos aboard the Happy Days rocket ride. Type-casting came with the Happy Days territory and it took years or hard work on stage for new opportunities to present themselves. Don has since gone into directing and producing and his most recent roles are the most compelling and diverse of his career. Potsie took most of the lead vocals in the Happy Days band but Donny has been a singer since childhood and his most recent big-band, American Songbook recording, New York High has a BBC reviewer calling him, “The new Sinatra.”All this plus the truth behind the lawsuit against CBS,  Happy Days trivia and Don's dramatic Baywatch rescue!And, in recommendations, Fritz and Weezy are discussing Ellen DeGeneres: For Your Approval and Monsters: The Lyle And Erik Menendez Story, both on Netflix.Path Points of Interest:Donny MostDonny Most on WikiDonny Most on IMDBDonny Most on TwitterNew York High on Apple MusicFar HavenHarsen's Island RevengeUnsung HeroGallatin Comic Con AppearanceEllen DeGeneres: or Your Approval on NetflixMonsters: The Lyle And Erik Menendez Story on NetflixGift of DemocracyMedia Path Podcast

Harvey Brownstone conducts an in-depth Interview with Liberace Protégé, Steve Garey, Part 2About Harvey's guest:Today's returning guest, Steve Garey, is a renowned, 2-time gold record winning pianist, vocalist and recording artist who has a very prestigious connection to 2 show business legends:   Liberace and Frank Sinatra.   He was selected by Liberace to be his very last protégé, and he is the only protégé of Liberace's to receive the endorsement and support of the Board of Directors of The Liberace Foundation and the Liberace Estate.   And the other superstar with which our guest shares an illustrious history is the Chairman of the Board, the one and only Frank Sinatra, who chose our guest, when he was only 20 years old, to be his piano accompanist.  Our guest began his career in the 1970s as a child prodigy, performing concerts throughout the world, which led to a successful career in nightclubs as well as in films and on television.   And in 1981, Mr. Showmanship himself, Liberace selected our guest as his last and final protégé.  He studied with Liberace for the last six years of his life.  Our guest has performed at the most prestigious venues around the world, and besides performing with Liberace and Frank Sinatra, he's worked alongside dozens of superstars including Rosemary Clooney, Dinah Shore, Bernadette Peters, Johnny Mathis, Debbie Reynolds, Jane Russell, John Travolta and many more.  With his incredibly versatile repertoire, which includes everything from the Jazz Classics, Pop and Country Music to the great American Songbook, our guest has given Command Performances for 5 American Presidents in addition to a number of Crown Monarchs in Europe, Asia and the Middle East.  He's been featured in Cosmopolitan Magazine, the Hollywood Reporter, and on the cover of both TV GUIDE and the American music industry publication "The Score” magazine".   He's also a Contributing Editor to Keyboard World Magazine, and he continues to serve as a consultant on books and film projects regarding both Liberace and Frank Sinatra.For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/To learn more about Steve Garey, go to:https://www.stevegarey.com/https://www.youtube.com/channel/UCo1NG_K9BzWTHNcamlaSavw https://twitter.com/stevegarey#SteveGarey    #harveybrownstoneinterviews

Ben West is a musical theatre artist and historian. His book, The American Musical, chronicles a detailed and comprehensive history of the art form's artistic evolution. Ben also created 20 “Timeline Wall” exhibits for the Museum of Broadway, that trace the history of the Broadway stage from 1732 to 2021, and spotlight more than 500 productions and 100 artists.He has worked in various capacities on Broadway, Off-Broadway, and regionally, and created and directed Unsung Carolyn Leigh for Lincoln Center's American Songbook series. Ben has spoken at several institutions including Yale University, University of Michigan, the Dramatists Guild, and the Shubert Organization. He is a recipient of Lincoln Center's Martin E. Segal Award.

Harvey Brownstone conducts an in-depth Interview with Liberace Protégé, Steve Garey About Harvey's guest: Today's guest, Steve Garey, is a renowned, 2-time gold record winning pianist, vocalist and recording artist who has a very prestigious connection to 2 show business legends:   Liberace and Frank Sinatra.    He was selected by Liberace to be his very last protégé, and he is the only protégé of Liberace's to receive the endorsement and support of the Board of Directors of The Liberace Foundation and the Liberace Estate.    And the other superstar with which our guest shares an illustrious history is the Chairman of the Board, the one and only Frank Sinatra, who chose our guest, when he was only 20 years old, to be his piano accompanist.  Our guest began his career in the 1970s as a child prodigy, performing concerts throughout the world, which led to a successful career in nightclubs as well as in films and on television.   And in 1981, Mr. Showmanship himself, Liberace selected our guest as his last and final protégé.   He studied with Liberace for the last six years of his life.  Our guest has performed at the most prestigious venues around the world, and besides performing with Liberace and Frank Sinatra, he's worked alongside dozens of superstars including Rosemary Clooney, Dinah Shore, Bernadette Peters, Johnny Mathis, Debbie Reynolds, Jane Russell, John Travolta and many more.   With his incredibly versatile repertoire, which includes everything from the Jazz Classics, Pop and Country Music to the great American Songbook, our guest has given Command Performances for 5 American Presidents in addition to a number of Crown Monarchs in Europe, Asia and the Middle East.  He's been featured in Cosmopolitan Magazine, the Hollywood Reporter, and on the cover of both TV GUIDE and the American music industry publication "The Score” magazine".    He's also a Contributing Editor to Keyboard World Magazine, and he continues to serve as a consultant on books and film projects regarding both Liberace and Frank Sinatra. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To learn more about Steve Garey, go to:https://www.stevegarey.com/https://www.youtube.com/channel/UCo1NG_K9BzWTHNcamlaSavw https://twitter.com/stevegarey #SteveGarey    #harveybrownstoneinterviews

The guys celebrate Memorial Day! Brendan honors family and friends who served, Marty speculates on what verdict the jurors will render in Trump's New York trial, both of us make fun of thug-turned-schlub Michael Cohen, and we also have some fun with Rudy Giuliani's new barista gig.

 My guest again this week is author BEN WEST who returns for the fourth and final segment of our conversation in regard to his exceptional new book The American Musical – Evolution of an Art Form.  As you will hear, in today's episode, we move into what I call the Modern Era of Broadway from the 1970s right up to today and detail the major changes in the way musicals are made over the last 50 years. Our discussion touches on such shows as Hair, Your Own Thing, Rent, The Wiz, Jelly's Last Jam, Hamilton, The Band's Visit, and more! If you missed the previous episodes in this series you may want to go back and catch on that before listening to this one. Ben West is a musical theatre artist and historian who created the extensive “Timeline Wall” exhibits for the Museum of Broadway that trace the history of the Broadway stage from 1732 to 2021, spotlighting more than 500 productions and 100 artists. He has worked in various capacities on Broadway, Off-Broadway, and regionally and created and directed Unsung Carolyn Leigh for Lincoln Center's American Songbook series. He has lectured and spoken at Yale University, University of Michigan, the Dramatists Guild, and the Shubert Organization. Become a PATRON of Broadway Nation! This podcast is made possible in part by the generous support of our Patron Club Members, including our Producer Level patrons, Paula & Steve Reynolds. For just $7.00 a month, you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. All patrons receive special “on-air” shout-outs and acknowledgment of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of Our American Stories, our storyteller's father was more than a virtuoso of the American Songbook. He was a circumspect, gentle, and incredibly generous man. Support the show (https://www.ouramericanstories.com/donate)See omnystudio.com/listener for privacy information.

This is the third segment of my conversation with author BEN WEST, regarding his new book: THE AMERICAN MUSICAL — EVOLUTION OF AN ART FORM. As you will hear this book is a comprehensive history of the American Musical from its origins in the 19th Century right up to the turn to the 21st Century. Along the way Ben West sheds new light on a myriad of shows, authors, directors, and performers including a host of often-overlooked women and African-American artists. If you missed the previous episodes in this series you may want to go back and catch on that before listening to this one. Ben West is a musical theatre artist and historian who created the extensive “Timeline Wall” exhibits for the Museum of Broadway that trace the history of the Broadway stage from 1732 to 2021 and spotlight more than 500 productions and 100 artists. He has worked in various capacities on Broadway, Off-Broadway, and regionally, and created and directed Unsung Carolyn Leigh for Lincoln Center's American Songbook series. West has lectured and spoken at several institutions including Yale University, University of Michigan, the Dramatists Guild, and the Shubert Organization. He is a recipient of Lincoln Center's Martin E. Segal Award. Become a PATRON of Broadway Nation! This podcast is made possible in part by the generous support of our Patron Club Members, including our Producer Level member, Bob Braun. For just $7.00 a month, you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. All patrons receive special “on-air” shout-outs and acknowledgment of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's episode is the second part of my recent conversation with author BEN WEST, regarding his his exceptionally comprehensive new book: THE AMERICAN MUSICAL — EVOLUTION OF AN ART FORM. This book traces the American Musical's creative journey from its 19th Century beginnings through its 20th Century maturation, and on to the turn of the 21st century. Along the way, Ben West sheds new light on a myriad of shows, authors, directors, and performers including a host of often-overlooked women and African-American artists. If you missed the first episode in this series you may want to go back and catch on that before listening to this one. As our previous episode ended Ben and I were discussing the revue form, especially the annual revues such as the Ziegfeld Follies and Earl Carroll's Vanities. Today we pick up conversation with some of the other forms of musical theater that Ben explores in Part Two of his book, a section that he titles Birth Of An Art Form. Ben West is a musical theatre artist and historian who created the extensive “Timeline Wall” exhibits for the Museum of Broadway that trace the history of the Broadway stage from 1732 to 2021 and spotlight more than 500 productions and 100 artists. He has worked in various capacities on Broadway, Off-Broadway, and regionally, and created and directed Unsung Carolyn Leigh for Lincoln Center's American Songbook series. West has lectured and spoken at several institutions including Yale University, University of Michigan, the Dramatists Guild, and the Shubert Organization. He is a recipient of Lincoln Center's Martin E. Segal Award. Become a PATRON of Broadway Nation! This podcast is made possible in part by the generous support of our Patron Club Members, including our newest member, Taryn Darr. For just $7.00 a month, you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. All patrons receive special “on-air” shout-outs and acknowledgment of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest this week is author BEN WEST, who joins me to discuss his exceptional new book: THE AMERICAN MUSICAL — EVOLUTION OF AN ART FORM. This book is a comprehensive history of the American Musical that traces the form's creative journey from its 19th Century beginnings through its 20th Century maturation, and on to the turn of the 21st century. Along the way Ben sheds new light on a myriad of authors, directors, and craftspeople who worked on Broadway and beyond. In a similar way to this podcast, this book actively addresses the form's often-overlooked female and African-American artists. It also goes beyond the strict boundaries of Broadway to explore such outside influences as minstrelsy, vaudeville, nightclubs, and burlesque as well as the dynamic relationship between the American Musical and and the consciousness of its country that gave it birth. Ben West is a musical theatre artist and historian who created the extensive “Timeline Wall” exhibits for the Museum of Broadway that trace the history of the Broadway stage from 1732 to 2021 and spotlight more than 500 productions and 100 artists. He has worked in various capacities on Broadway, Off-Broadway, and regionally, and created and directed Unsung Carolyn Leigh for Lincoln Center's American Songbook series. West has lectured and spoken at several institutions including Yale University, University of Michigan, the Dramatists Guild, and the Shubert Organization. He is a recipient of Lincoln Center's Martin E. Segal Award. Learn more about your ad choices. Visit megaphone.fm/adchoices

Five for Fighting, the stage name of singer/singwriter John Ondrasik, has some crazy timing. He popped over to Israel for a five day immersion in the reality and the pain of our post-October 7th reality. And he was in Tel Aviv on the night that the Islamic Republic of Iran launched more than 300 attack drones and ballistic missiles at us. As we now know, 99% of the offensive weapons were intercepted. Beyond miraculously. But within minutes of Ondrasik performing his amazing new song – “OK” – about October 7th and this seriously messed up world we live in – the Home Front Command issued directives country-wide for everyone to seek shelter. Iran was attacking imminently. We were told 24-48 hours. It turned out to be much less. Ondrasik could have left that night – he was travelling with his young son. But he did not. He stayed. And that tells you everything you need to know about the man. Thank you, John. He performed on Saturday night at Hostage Square at the big weekly support rally for hostages and their families. Moments after he finished his set I went backstage to congratulate him on a magnificent and moving performance. Within minutes we were all hurrying home. I caught up with John on Saturday midday - as we were waiting to see what Iran would do - and we had a great talk about the moral cowardice in the west that is emboldening violent extremism. He understands that it's not just about Israel but that western democracy and freedoms are threatened by this surge of Marxist and extreme Islamist violence. Since the introduction to this podcast was recorded, the 7-year old Beduin girl who I mention having been critically injured, has died. Her tragic fatality is the only one. A number of people were injured by missile and drone debris and there was some damage to a major Israeli Air Force base. Ondrasik stayed on for the full five days. Five for Fighting. Unfortunately, due to the ongoing high alert regarding Iran and its proxies in the region, he was unable to visit the site of the Nova music festival. But I am confident that John Ondrasik will be back. Not only is his music beautiful but he is one of those rare artists who has a moral backbone and is speaking out, no matter the consequences. The world needs more John Ondrasiks. Five for Fighting. Go Leafs!You really don't want to miss this amazing discussion. Or the video for the song. “OK.”Except. We are so not OK.State of Tel Aviv is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.In the two decades since Five for Fighting's first major single, “Superman (It's Not Easy),” hit the stratosphere, Five For Fighting (aka John Ondrasik), has released six studio LPs, including the platinum certified “America Town” and “The Battle for Everything;” and the top-10 charting “Two Lights,” along with an EP and live albums. A post 9-11 anthem, Ondrasik performed “Superman (It's Not Easy),” at the 2001 Concert for New York, a benefit show at Madison Square Garden that honored first responders and the fallen about a month after the tragic September 11th attacks. Ondrasik has penned major hits, including the chart-topping “100 Years,” “The Riddle,” “Chances,” “World,” and “Easy Tonight,” which have earned tens of millions of streams and placed him as a top-10 Hot Adult Contemporary artist for the 2000s. The reflective “100 Years” has joined “Superman (It's Not Easy)” as part of the American Songbook and continues to stand the test of time. Five For Fighting's music has also been featured in more than 350 films, television shows, and commercials, including the Oscar-winning “The Blind Side,” “Hawaii Five-O,” “The Sopranos,” and the CBS drama, “Code Black.” This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.stateoftelaviv.com/subscribe

Daisy Prince's directing work includes the Original Off-Broadway production of The Last Five Years and the Original Off-Broadway production of Songs for a New World, both by Jason Robert Brown; It's Only Life: The Songs of John Bucchino at Rubicon Theatre (Los Angeles Ovation Award and Independent Award, Best Direction) also at Theatre Row for SPF and American Songbook at Lincoln Center; Jessica Molaskey's Pentimento with John Pizzarelli, Christine Ebersole, and Frank McCourt at The 92 Street Y. Daisy's concert staging includes Jason Robert Brown and Stephen Sondheim at Town Hall 50th SubCulture Residency Concert June 2019, NYSF Public Theater, PUBLIC SINGS!, Jazz at Lincoln Center's American Songbook Lance Horne: First Things Last, Lyrics and Lyricists at 92nd St. Y, The Genius of Autism, Zankel Hall at Carnegie Hall, and Tom Kitt: An Evening at Stella Del Mare at Joe's Pub. As a performer, Daisy's credits include Merrily We Roll Along (Meg, Original Broadway Cast), Follies in Concert (Young Phyllis, Lincoln Center); Pal Joey (Linda English, Encores! City Center), Michael John LaChiusa's The Petrified Prince (Elise, NYSF Public Theater), and featured performer with The New York Pops at Carnegie Hall. Her recordings include all the above and Grateful: The Songs of John Bucchino. In addition, she co-produced three plays with Bonnie Metzgar and Thalia Field as House Frau, inc. at BACA downtown. Daisy is a graduate of Brown University, has spent 20 years teaching as part of the New York City faculty of Syracuse University's The Tepper Semester, and is a proud member of the SDC. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This Saturday, March 23 at 8pm - the stage of The Mahaiwe in Great Barrington, Massachusetts will spring to life as Bria Skonberg and Benny Benack III re-vive and re-imagine classics from The American Songbook.“Sing & Swing” is part of a “Jazz at Lincoln Center presents” touring initiative that features up-and-coming musicians who have been identified as rising stars by that venerated organization.

Ohio native Dan Duckham moved to Fort Lauderdale in 1956 after graduating from Miami University of Ohio. Three years later in 1962 he formed his own firm and over the last seven decades, Dan Duckham completed more than 500 projects, including many Modernist houses.  Dan Duckham is one of the last living masters of Florida modern, and joining him is architect and author Randolph Henning, who in addition to his design practicewrites books on architects who followed in the tradition of Frank Lloyd Wright, architects such as Alfred Browning Parker and Aaron Green.  His next book is on Dan Duckham. Later on, the Queen of the American Songbook, musical guest Ann Hampton Calloway. 

Everybody said don't, but we're doing it anyway... It's the Gospel According to Babs! We're doing something a little different this season and focusing on the musicals (and musical-adjacent) films of one of the greats, and who better than Barbra Streisand: GOAT queer diva, filmmaker, actor, and singer, who just released her autobiography My Name is Barbra.   We talk about: – The Method: Barbra's early training in the method developed by Konstantin Stanislavski and his students in the early decades of the 20th century – and the theology of human experience it depends on. – The Albums: Streisand as an interpreter of the American Songbook, and the ways in which her acting training influences her recording career. – The power of thought as Barbra's autobiography (and discography!) expresses it. Do thoughts really transcend matter? – Keep a performance fresh – how to stay in the moment when the moment needs to be repeated over and over. – Streisand as prophet and priest. How does an artist bring a prophetic voice to society?   You'll hear: – Mostly Barbra! “Putting it Together” from the Broadway Album (1985), “Everybody Says Don't” from Back to Broadway (1993) and “Guilty” (with Barry Gibbs!) from 1980.   Continue the conversation with us on Instagram and The Platform Formerly Known as Twitter (@gospelofmt).

We are celebrating the most important gifts of any season: love, companionship and connection. Our guests are author Pilley Bianchi whose book, For The Love off Dog celebrates our rich canine bestie history and invites you to teach your any-age dog some new tricks. And TJ Lubinsky joins us to discuss his newest My Music Presents/PBS Special, Steve Lawrence and Eydie Gorme: Memories of My Mom And Dad.Inspired by the work of her father John W. Pilley, the psychologist whose Border collie, Chaser, charmed the nation with his impressive understanding of language, Pilley hopes to share with you what she learned from her Dad and Chaser and inspire you to to better engage with your dog. She's written the ultimate handbook designed to teach you how to teach your dog.TJ Lubinsky is eager to tell us about his 20 year journey towards finally making the Steve and Eydie special of his dreams. Teen heartbreak led TJ to sooth his soul with the sound of Steve Lawrence and now TJ has teamed with Carol Burnett, Michael Feinstein and Steve and Eydie's son, David Lawrence, to bring you a PBS special rich with remarkable musical TV moments featuring his parents singing, I'm Into Something Big, Sunrise Sunset, Blame It On The Bossa Nova, Portrait Of My Love, More, and more! We learn from TJ that management obstruction led to the long delay. We hear about the surprising source of the pristine footage he was able to find deep in a vault and we come to understand the role David's recollections played in the making of this visual celebration of the greatest singing spouse act in American music history. All that, plus TJ shares how his attention to detail pays off in the live shows he produces featuring legacy acts, why he always begins every project with the right intentions and the seemingly serendipitous ways in which he helps artists receive their well earned moments of recognition and appreciation!And Fritz is recommending Napoleon in theaters and streaming, and Weezy was moved by the Charles Blow documentary South to Black Power on Max.Path Points of Interest:TJ Lubinsky on WikipediaTJ Lubinsky on FacebookTJ Lubinsky on InstagramCurrent.org articleSteve Lawrence and Eydie Gorme: Memories Of My Mom And DadSteve Lawrence and Eydie Gorme: Memories Of My Mom And Dad TrailerPBS PassportTreasury CollectionPilley BianchiFor The Love of Dog: The Ultimate Relationship Guide by Pilley Bianchi and Calum HeathPilley on InstagramPilley on YouTubeChaser and JohnChaser on WikipediaChaser and John on YoutubeChaser and John on Sixty MinutesChaser and John on NovaNapoleon - Theaters/HBO Max/PrimeSouth To Black Power on Max

On this episode of Our American Stories, our storyteller's father was more than a virtuoso of the American Songbook. He was a circumspect, gentle, and incredibly generous man. Support the show (https://www.ouramericanstories.com/donate)See omnystudio.com/listener for privacy information.

Jose Llana returns to Broadway in the highly anticipated production of David Byrne & Fat Boy Slim's Here Lies Love, for which he earned a Lucille Lortel Award nomination for creating the role of “Marcos” at the Public Theatre. He most recently starred as The King Of Siam in Lincoln Center Theater's Tony Award Winning revival of The King & I on Broadway, the US National Tour and the UK Tour. Previous Broadway credits include Chip Tolentino in William Finn's The 25th Annual Putnam Country Spelling Bee (Drama Desk Award, dir. James Lapine), El Gato in Wonderland, Wang Ta in David Henry Hwang's adaptation of Rodgers & Hammerstein's Flower Drum Song, Angel in RENT (dir. Michael Greif), Jessie-Lee in Streetcorner Symphony and his debut as Lun Tha in the 1996 Revival of Rodgers & Hammerstein's The King & I opposite Donna Murphy and Lou Diamond Phillips. Off-Broadway appearances include Adam in Falling For Eve (York), Gabey in On the Town (dir. George C. Wolfe, Delacorte) and Adam Guettel's Saturn Returns (dir. Tina Landau, Public Theater). Regional appearances include Bill Sikes in Oliver! (Papermill), Guillaume in Cameron Mackintosh's Martin Guerre (Guthrie Theater), Tin Man in Ballad of Little Jo (Steppenwolf Theater, dir. Tina Landau, Jefferson Nomination - Best Supporting Actor) and Candide in Candide (Prince Theater, Barrymore Nomination - Best Actor). TV/Film appearances include HBO's Sex and the City opposite Margaret Cho and Hitch with Will Smith. Appearing on numerous cast albums Jose is also a best-selling recording artist on the VIVA Philippines label. He has made two appearances with American Songbook in 2019 and 2015 which led to the release of his second solo CD, Altitude in the spring of 2016. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The only way for a story to progress is to turn the page. John Ondrasik— the songwriter and performer known as the platinum-selling, Grammy-nominated, Five For Fighting—knows this well. In the two decades since his first major single, “Superman (It's Not Easy),” hit the stratosphere, the artist has both evolved and come back ‘round full circle. Creativity, if nothing else, is paradoxical. To date, Five For Fighting, has released six studio LPs, including the platinum certified America Town and The Battle for Everything; and the top-10 charting Two Lights, along with an EP and live albums. Ondrasik has penned major hits, including the chart-topping “100 Years,” “The Riddle,” “Chances,” “World,” and “Easy Tonight,” which have earned tens of millions of streams and place him as a top-10 Hot Adult Contemporary artist for the 2000s. The reflective “100 Years” has joined “Superman (It's Not Easy)” as part of the American Songbook and continues to stand the test of time at weddings, birthdays, graduations, memorials, and many a home video. Five For Fighting's music has also been featured in more than 350 films, television shows, and commercials, including the Oscar-winning The Blind Side, Hawaii Five-O, The Sopranos and the CBS drama, Code Black.

"That's the problem with a lot of things these days," wrote Bob Dylan in 2022, "Everything is too full now; we are spoon-fed everything. All songs are about one thing and one thing specifically, there is no shading, no nuance, no mystery. Perhaps this is why music is not a place where people put their dreams at the moment; dreams suffocate in these airless environs." This mournful attitude — for a lost age of artfulness, mystery, and hope — pervades Dylan's 2022 book, Philosophy of Modern Song. In this sense, it's a quintessentially conservative book. But decline and nostalgia are not its only themes.  In short bursts of prose reflecting on sixty-six totemic songs (from Webb Pierce's 1953 hit "There Stands the Glass;" to The Fugs' 1967 proto-punk romp "CIA Man;" to Nina Simone's unimpeachable "Don't Let Me Be Misunderstood"), Dylan conjures a country — and canon — defined most of all by mutability, motion, and menace.  Dylan's America never stops moving, reinventing itself, or rebelling against its own strictures. Things get better; things get worse; what they don't do is stay the same. To help us make sense of Bob Dylan's idiosyncratic vision of America and American song, we're joined by Know Your Enemy musician-in-residence (and Bob super-fan) Will Epstein. Besides providing the music for our show, Will is a song-writer, composer, and improvisor; his latest album, WENDY, is out from Fat Possum records. (Download it or buy the vinyl here.) Music may not be the place where most people put their dreams these days, but it's still where we put ours. And there is no better way to understand America's dreams than by listening — closely — to its music.  Sources:Bob Dylan, The Philosophy of Modern Song (2022)Bob Dylan, Chronicles: Volume One (2005)Sean Wilentz, Bob Dylan in America (2010)Clinton Heylin, Bob Dylan: Behind the Shades Revisited (2003)Martin Chilton, "Bob Dylan and the Great American Songbook," May 24, 2022Raymond Foye, "Bob Dylan's The Philosophy of Modern Song," The Brooklyn Rail, Nov. 2022.Hua Hsu, "How Nam June Paik's Past Shaped His Visions of the Future," The New Yorker, Mar 29, 2023.John Szwed, Cosmic Scholar: The Life and Times of Harry Smith, coming Aug 2023....and don't forget to subscribe to Know Your Enemy on Patreon for access to all of our bonus episodes!